I’ve recently taken up the challenge of mastering my work as an explicit, separate step from the recording / mixing process. To cut my teeth, I’ve decided to take up a few of my older songs and revisit them from a mastering and, in some instances, even a remixing perspective. This is one such song.
Originally recorded in 2013, this song gives a glimpse into the mind of a woman who is best friends with the man that’s she’s been in love with all of her life. And yet, as his friend, he looks right through her as he searches for his partner in life. In her heart, she pleads with him to recognize her for what she really wants to be, and that’s his woman and soulmate.
Vocals: Leslie Petruzzi (Mark’s daughter in law)
Rhodes: Kenny Zarider
Sax: Wim Koopman
All I Wanna Do
Well it sounds great except for the snare brushes thing…nice song and what a great voice!!
I’ve basically given up trying to master my “finished” songs, that’s a whole new skill I just don’t wanna learn, would rather write songs, but I am aware of the difference good mixing and mastering makes…I just can’t do it 
Kevin
Well, believe it or not, it’s not as black magic as you currently or I once thought. For me, the thing that really allowed me to accomplish this was having an EQ that supports Mid-Side processing. That is crucial. Other than that, a compressor, limiter, and two awesome and free plug-ins from Variety of Sound are all that I’m using. You may be able to accomplish what you need with the stock compressor and limiter, in fact.
Larry, what are you doing with the mid-side eq? Do you eq the side different, I assume? What does it do? Just trying to understand, thanks.
Well, there’s more to it than I can explain off the top of my head, but essentially it’s taking advantage of the fact that (for every one of my tracks at least), the kick, snare, bass and lead vocals are typically panned center. So you cut frequencies in the sides where the kick and bass are, for example, to allow the bass to shine through because it’s not competing with sub harmonics from other instruments. You also don’t want to simply boost the bass channel (for example) because you’re also boosting the higher order harmonics which could compete with other instruments that legitimately belong in those upper frequency bands.
Etc.