MASTERING PREPERATION GUIDELINES
FIRST AND FOREMOST, COPYRIGHT YOUR WORK! (This one never gets outdated!)
It seems like common sense, but with all of the various demands of your
project, it can be easily overlooked. This is an easy and inexpensive
process. Forms can be obtained along with full details from the Library
of Congress at, www.loc.gov
We handle your project with strict confidence, but unfortunately, mishaps can happen during sending or receiving of your project, in which we have no control or power over.
***UPDATE NOTE: With our internet transfers only policy we have eliminated the physical transfer of goods and all middlemen involved. This eliminates mishaps by 99%. BUT...even with online transfers there's always a possibility of "Murphy" showing up with his merry band of A$$@%&*S. So COPYRIGHT your work!
Don't give anybody an easy, unnecessary opportunity! Think it can't
happen? Think again! This business is littered with unscrupulous individuals
who would gladly seize the moment to make a fortune on stolen goods...YOUR
efforts!
Just some sound friendly advice, one musician to another.
Ok, now that we have that out of the way, here's some specifics.
1) Contact Us. We will discuss with you the needs of your project. PLEASE write "mastering" on the header, so we don't accidentally mistake your message for spam!
2) THIS IS IMPORTANT, PLEASE TAKE NOTICE. Formats we accept are:
a) Internet transfers to and from our dedicated secure servers. We will provide you with your own, unique ftp username and password.
Actual audio formats accepted. (Too many to list here) We can accomodate just about any audio format. (As long as we're talking UNCOMPRESED files...no mp3's and such.)
However, the most common being .wav
Sample rates: Just about any.
Preferably: 24bit files in the native sample rate of your final mix.
some common ones:
44.1k, 48k, 88.2k, or 96k. Bit rates: 16, 24, 32bit.
If in doubt, just drop us a LINE.
Formats we DO NOT accept are: MP3's (or any other compressed format)
3) Do NOT use a final mix buss
compressor to bring up the level of your mix. That interferes with the
mastering. Compression upon compression WILL destroy your sound.
Let US worry about the volume.
Individual compression on individual instruments or tracks is absolutely
fine. Just DON'T compress the overall mix.
4) Leave room for mastering to do its job properly. Ideally, your PEAK mix levels should not hit hotter than -6 to -4 on your digital meters. This leaves breathing room in the dynamic range for us to work. We'll take care of the volume you want. If you want the final result to hit 0 at all times, we can do that, but give us the room to do so.
5) This seems obvious, but here
it is anyway. Make sure, your final mix is EXACTLY the way you want it.
Make sure to have proper balance of instruments, panning, effects, etc.
Remember, mastering can make small adjustments to the mix using frequency
dependant compression, BUT, IT CANNOT make full blown drastic changes
the way a mixer can during final mixdown. So, if something in your mix
is utterly inaudible, or conversely, if something sticks out and is overbearing,
then your best bet would be to remix.
Remember, the better the mix, the better the master. (see the What
Is Mastering? link for a thorough explanation.)
6) Details such as track order, fade ins, fade outs, crossfades, as well as other singular items, can be discussed and settled on an individual project by project basis.
7) See the General
Pricing link for fees, agreements,
and payment policy.