FAQ

Guidelines for preparing and delivering files for mastering

Please read this or watch the video below before delivering files for mastering.

Filetypes

For the best possible result of the mastering you should try to deliver as high-quality files as possible. preferably wav or aiff  files which are both uncompressed audio file types. If possible please avoid sending compressed audio files Such as MP3 or AAC Or other MPEG Formants But if that’s all you got and your original recording was in that format then I will work with that anyway.

Sample rates

Regarding sample rates I can work with any sample rate up to 192 kHz but you should always keep the original sample rate of your production all the way from recording to mastering. So please do not apply up or down sampling before mastering. In other words if you recorded in 16 bits  at 44.1 kHz then you should stay in that resolution and you should deliver the pre-masters in that same resolution. And if you recorded in 32 bits at 192 kHz then you should deliver your files in that resolution, makes sense right?

DIthering

Please do not apply dithering since dithering and noise shaping is only necessary when you change bit depth. If necessary I will be doing some dithering or noise shaping at the end of the mastering chain if we are going from a higher resolution to a lower resolution such as from 32 bits to 16 bits for instance.

Reference and pre-master

Now let’s talk references and how to get the best possible result of the mastering. It makes my job a lot easier If you provide two mixes. One mix as a reference to what you have been listening to with all plug-ins or hardware and such included on the master bus. 

Feel free to apply heads and tail durations or fades to this file,  especially if you have specific wishes. This gives me a guideline and a reference file to what you’ve actually been listening to before mastering.

Regarding The other file, the pre-master

Please bypass any limiters, loudness maximizers and width enhancers on the master bus.Avoid by all means digital clipping and try to keep a maximum peak level around -3 or -4 dB to leave headroom for mastering. 

Masterbus compression

Please do only apply master bus compression if it’s a colouring or character choice.Please do not apply master bus compression to achieve loudness or hotter levels.

Preparation for file delivery

Heads and tails

Before bouncing your pre-master please be aware to capture the first milliseconds at the beginning and all the reverb and delay tails at the end of the track.

Normalisation

By all means do not normalise the pre-master file, but please listen to the file before delivery and make sure that it sounds correct, especially if you do off-line bouncing.

Naming and sequencing

If you’re sending more than one song and they’re supposed to relate to each other in a sequence, please name the files accordingly:

Position number in the sequence_song or track name.

Like this:
01_Lovesong

This makes it much easier for me to get the sequence right from the  start.

External references

Another thing I use a lot is what I call external references. This can be any piece of music that so to speak exist in the real world.
Music that you really like and feel acquainted with. Preferably in the same genre as your music, to work as a reference tool.
This type of reference can be very helpful, since it provides, what I call an open window to the real world and gives me insight to what you adore soundwise.
Please send me the external reference as well, preferably as a file, but a link is also fine.

 

Delivery

Compress or zip the folder including the reference mix, the pre-master mix and the external references. Upload the file to me either through my Wetransfer channel or any other service you prefer.

 

What is the master for?

One last important thing. Please let me know from the get go which medium or platform the master should be used for.

Alternative versions

If you need alternative versions like a radio edit or an instrumental or a capella version.
 

Confused?

If you have any questions what so ever regarding this information overload, please do not hesitate to write or call me

Guidelines for preparing and delivering files for stem mastering

Please read this or watch the video below before delivering files for stem mastering.

Stem mastering

Is a very useful technic kinda in between mix and mastering and works out great if you’re not totally happy with the overall mix. Stem mastering gives me a lot of more options to tweak the different parts of the mix, which would not be possible with just a stereo file.

Splitting up the stems

How you split up the stems all depends on the program material. But be aware, not to put colliding elements in the same stem. Like bass and drums together or lead and background vocals together. Otherwise it later on makes it impossible to do a sing-back version without the lead vocals for instance. Maybe you have a very important keyboard or guitar part. That part should not be bounced together with other elements playing at the same time.

How many stems?

My fixed price for a Stem master Includes a maximum of eight stereo Stems. 
So if you feel the need to go beyond that I will label it a hybrid master or a small mix with mastering which has another price tag.

I also offer a small stem master with only two stems, if you just wanna spilt the mix into vocals and instruments, this still gives more options than just the mix file.

Check your stems 

After bouncing the stems please drag them into a new arrangement and cross reference with your mix. Is everything in its right place and does it sound as expected? If not you need to go back and fix those issues.
 

Filetypes :

For the best possible result of the mastering you should try to deliver as high-quality files as possible. preferably wav or aiff  files which are both uncompressed audio file types. If possible please avoid sending compressed audio files Such as MP3 or AAC Or other MPEG Formants But if that’s all you got and your original recording was in that format then I will work with that anyway.

Sample rates :

Now regarding sample rates I can work with any sample rate Up to 192 kHz but you should always keep the original sample rate of your production all the way from recording to mastering. So please do not apply up or down sampling before Mastering. In other words if you recorded in 16 bits  at 44.1 kHz then you will stay in that resolution and you will deliver the pre-masters in that same resolution. And if you recorded in 32 bits at 192 kHz then you should deliver your files in that resolution, makes sense?

DIthering :
 

Please do not apply dithering since dithering and noise shaping Is only necessary when you Change bit depth. If necessary I will be doing Some dithering or noise shaping at the end of the mastering chain if we are going from a higher resolution to a lower resolution such as from 32 bits to 16 bits For instance.

 

Reference and pre-master: 

Reference file

Now let’s talk references and how to get the best possible result of the mastering. It makes my job a lot easier If you provide two mixes. One mix as a reference to what you have been listening to with all plug-ins or hardware and such included on the master bus. Feel free to apply heads and tail durations or fades to this file. Especially if you have specific wishes. This gives me a guideline and a reference to what you’ve actually been listening to before mastering.
 

Pre-master file

Regarding The other file, the pre-master, please bypass any limiters, loudness maximizers and with enhancers on the master bus. 
Avoid by all means digital clipping and try to keep a maximum peak level around -3 or 4 dB to leave headroom for mastering.
 Please do only apply master bus compression if it’s a colouring or character choice.
Please do not apply master bus compression to achieve loudness or hotter levels.
 

External references

Another thing I use a lot is what I call external references. This can be any piece of music that so to speak exist in the real world.
Music that you really like and feel acquainted with. Preferably in the same genre as your music, to work as a reference tool.

An open window to the world

This type of reference can be very helpful, since it provides, what I call an open window to the real world and gives me insight to what you adore soundwise.
Please send me the external reference as well, preferably as a file, but a link is also fine.
 

Sorting the sequence

If you’re sending more than one song please sort them in folders labeled with the sequence Number and track title. Then name the stems by what they contain For example drums, bass, guitars And so on.
Compress or zip that folder and send it to me either through my Wetransfer channel or any other service you prefer.
 

What is the master for?

One last important thing. Please let me know from the get go which medium or platform the master should be used for and if you need alternative versions like a radio edit or an instrumental or a capella version.
 

Confused?

If you have any questions what so ever regarding this information overload, please do not hesitate to write or call me.

Guidelines for preparing and delivering files for mixing

Please read this or watch the video below before delivering files for a mix.

Mixing – a two way street

Option 1

There’s two ways to go about this. Either you deliver a ProTools session (jump to the column on the right). Or if you work in any other DAW (Digital Audio Workstation) you need to bounce out all your mix files from the same starting point.

Resolution 

The resolution of the files should be kept the same as you recordings. So the sample rate and bit depth should remain the same as in your session.
If some tracks are mono bounce them in mono. Stereo tracks should be bounced as stereo and as interleaved files please. 

 

Cubase 

If you work in Cubase there’s an important thing you need to do. In the Cubase export window you need to select left/right channels, if not selected, Cubase will export multi channel audio which then shows up as mono files when imported.

Plugins

When bouncing the individual tracks please bypass all sorts of plug-ins that are considered mix tools, this would include dynamics, EQs, distortion, delays and reverbs. 
Please do include plug-ins that I would consider production tools such as auto tune, automated filter movements or any extreme effect that totally changes the character of the original recording.
 

Sound effects

If you use effects like booms, sweeps, risers or background ambiences,   just bounce those as they are in your production including all plugins.
 

Comping

During recording you may have used several tracks to record the exact same element, for instance ad libs for verse 1 and ad libs for vers 2. Please export those together as one track, unless there’s any overlapping audio of course.
 

Naming and structure

Please name each file according to the type of element it contains, such as kick, snare or piano. If there are more than one of those elements just use ascending numbers such as kick 1, kick 2 and so on and preferably in hierarchical order.
Try to keep the track titles short and clean and feel free to use abbreviations.
 

Reference mix

Please remember to bounce a reference mix so I know how your mix sounded before I started working on it. 
 

Check your files 

Once you have bounced out all your tracks please drag them into a new arrangement and double-check that everything corresponds to the reference mix.
If so put all those files in a folder and label it with the artist name_song title_BPM number of the song.
 

Go to “External references”

 

Option 2

If you deliver a ProTools session 

The same norms for naming and comping applies, but you can however keep your plug-ins activated.

Autotune

If you are using Autotune please audiosuit those and deactivate the plug-in on the specific channel. This makes it easier for me to locate those channels with Autotune.
 

Delay compensation

If possible please save your session with delay compensation enabled, this makes sure that the timing stays the same when I open your session.

FX sends

If you’re Working with FX sends please make sure that the receiving plug-ins have the mix knob set at 100% wet. 
 

“Analog DSP”

If you are using plug-ins with analog features such as a lot of the Waves stuff, please switch those to the off setting. 
That feature tends to generate a lot of noise collectively.
 

Ready to export

When you’re ready to export choose save copy in and be aware to choose the correct resolution here, which should just be the same as your original session.
Under items to copy choose audio files and main playlist only.  This assures, that I don’t get a lot of files not used in the arrangement and probably makes the whole session smaller in size. 
Press OK and open the The newly created session and double check that everything sounds right and is in the right place.
 

External references

Another thing I use a lot is what I call external references. This can be any piece of music that so to speak exist in the real world. Music that you really like and feel acquainted with. Preferably in the same genre as your music, to work as a reference tool. If you have any external references or  prior releases or other songs you like and feel inspiring, please include those, either as files or write them in a text document as links .

This type of reference can be very helpful, since it provides, what I call an open window to the real world and gives me insight to what you adore soundwise.
Please send me the external reference as well, preferably as a file, but a link is also fine.
 

Delivery

Please label the session folder with the artist name_song title_BPM number and zip or compress that folder and send it to me either through my Wetransfer channel, dropbox or any other service you prefer
 

What is the mix for?

One last important thing. Please let me know from the start which medium or platform the master should be used for and if you need alternative versions like a radio edit, instrumental or a capella version.
 

Confused?

If you have any questions what so ever regarding this information overload, please do not hesitate to write or call me.

Let's talk​
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