During mixing:
- Don't over-saturate. Get a good level (signal to tape) during mixing, but don't make the mistake of over-saturation. If you are recording to a digital format, zero (0) on your meter is absolute. If you hit it or go over, you will hear nothing more than loud crackles and the recording will be useless. The optimal level is somewhere between –18 dB and –12 dB. Don't push it too much, remember we are dealing with digital photographs here, so give yourself some headroom and don't destroy that dynamic range. This is not analog, so a contest to see who can get the closest to zero when recording can only lead to problems later.
- Don't attempt to compress the final stereo mix. (Compression of tracks during recording is fine.) Compression of the overall final stereo mix is best done as one of the steps in mastering, not mixing a recording. A recording that arrives at or door with super hot levels has no dynamic range (one of the key elements in a great recording) left, and there is little or nothing we can do once it is "hammered” like this.
- Mix the material the way you want it before sending it. Mixing and mastering are different processes that should compliment each other. A mastering engineer typically can only partially fix a bad mix.
Consider applying for ISRC codes (International Standard Recording Codes) on your tracks before having your music mastered. If you have these codes, we can imbed them for you in your final mastered tracks.
- The RIAA is the organization that issues these codes for the US. (See www.riaa.com/issues/audio/isrc_faq.asp.)
- "The ISRC is a unique international identifier for tracks on sound and music-video recordings. Comprised of a 12 character alpha-numeric code, the ISRC functions as a digital “fingerprint” for each track. Unlike a Universal Product Code the ISRC is tied to the track and not the carrier of the track (CD, cassette). In addition, the ISRC remains allocated to a track regardless of changes in ownership. It is an extremely powerful tool for royalty collection, administration, and anti-piracy safeguards in the digital arena."
- Other service providers may help with this, for example: http://cdbaby.org/stories/03/10/06/2534677.html).
When you talk to us:
In addition to your physical recording, we want to understand what you want from the mastering process.
- Your overall sound: Whether a solo artist or band, you have a sound that is your image or fingerprint. Try to be as specific as possible. Techno music is not supposed to sound like a jazz CD.
- Your creative vision for your project and the results you hope to obtain:
- Do you want a live feel, or a very clean-sounding recording?
- Do you want recordings to fade or cut abruptly?
- Are there changes you would like to see in the overall sound?
- What is the final destination where this music is to be played (i.e., CD/iPod only, DTS music DVD, radio, television, film, theater)? A project will often be mastered differently for different destinations and different speaker sizes.
What to send us:
- What we like to receive when mastering a CD is both (1) an audio CD, and (2) a high-resolution (i.e., high bit-rate) AIF or WAV file of the material. Be sure and tell us what bit-rate you are using.
- Although we have a number of computer programs, we don't like to receive material in those formats because we want to remain true to the sound and mix you intended. There can be nuances introduced by different versions of the program, different computer platforms (PC vs. Mac), differences in plug-ins and outboard gear, etc. that might introduce variations in the final sound.
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