1. Call each company you will be using for your production, and map out a schedule... all the way up to delivery date. It's easy for us to focus on the moment and forget the big picture. Some of our clients rushed to get their CD mastered, only to have delays and complications with graphics, printing, pressing, you name it. Get a calendar and chart what needs to be done so that everything is in sync leading up to getting your CDs in hand.

2. Book the mastering session 1 to 2 weeks in advance, so that you have time to think about any last minute questions or ideas that you want to bring up in the session.

3. Label your masters (CDRs, tapes, etc.) with an identifying number or name noting the track ID numbers if you're using audio CDRs (24 bit data files are better). Include a listing (on paper) of the songs on each of master, or a folder directory if you're sending a hard drive or Separations. Carefully write on CDRs before burning them (the top is more fragile than the bottom) using a soft (medium Sharpie) pen - evenly spaced around the top of the disc for better spin balance. DO NOT USE PAPER LABELS.  Keep all CDRs clean! 

4. Send a printed song order for the final mastered CDR with references to the correct final takes, and their locations on your mix masters. Song order can be changed if you like and it's easy to do. Your master isn't done until you say it's done! If you have labeled each master, you can note which song comes from which mix CDR. IMPORTANT: Include your ISRC codes, album Title, UPC code (optional), artist name, record company etc. in your list of things to give to the mastering studio.

5. Make a list of what you think needs processing and editing on your songs. After comparing your mixes with commercially released CDs, you may feel that in your mixes, one song needs more bass, and another one needs more vocal. If you're in a group, have a meeting to listen to all the songs to make notes. Note: If you find that the bass player wants more bass, the drummer wants more drums, the vocalist wants more vocals, and the guitarist wants more... you get the picture....... Order pizza, and let the mastering engineer lend some suggestions.  One of the benefits of mastering is that someone with a completely objective point of view will be listening with fresh ears and a knowledge of the "sonic marketplace".

Good idea: Make alternate mixes - vocal up 1/2 dB, kick up 1 dB, or whatever variations you may be concerned about.
Much better idea: Bring in or send in Separations in for mastering (SDII files are preferred, but not required). This is the newest and most powerful mastering format available today. Include a "housekeeping" listing your concerns in your separations folder. What have you debated about while you've been mixing? Check out more mixing tips and some great EQ and compression suggestions.

6. KNOW YOUR BUDGET. Ask up front for a cost estimate, but realize, it is almost impossible to predict how much it will take for your project (studio rates and policies). Years ago we had a project where the cymbal crashes were just too loud every time they hit. We did level correction on each crash, and it took more than an hour of unexpected time - but the result was fantastic! Today using Separations, that issue would have taken 5 minutes to resolve.  (Even before Separations, we were quite assertive doing creative things in mastering.)

7. Bring (or send) a couple of commercial CDs with you to the mastering session that you LOVE the sound of. This gives an exact reference of your taste. You have listened to your favorite CDs many times at home (and in the car) and you're familiar with the tone and overall level. Our system is level-matched so that we can compare your project with the commercial albums, and you'll know exactly how your sound compares next to anyone you pick.

Interesting: One customer brought in about five commercial CDs, all of which he thought sounded great. After we did some comparisons with his project, he was shocked to hear that they all sounded different -- and most he didn't like! He heard differences on our system that he had never heard on his own. This is common, since many home systems have their own "tone" which tends to mask the differences in sonic qualities on different albums.

8. When you receive your first master/reference CDR, don't just rush back to the studio where you mixed it for your first listen. Check it out on home systems, boom boxes, the car, clubs, etc. You've been accustomed to hearing it in the studio, and it's going to sound different than you were used to in that "creative cocoon". What's more important is the real world. Take notes about what you hear. The mastering engineer can easily recall your session and make any changes you would like. Every mastering studio makes these kinds of changes from time to time, and it should be very cost-effective to do so.

9. Have your ISRC codes ready (a must for iTunes) and be sure you have an idea of how you want the song titles, album title etc. to say in the CD Text - and talk to your pressing plant ahead of time about any video files or web site links you want included.

10. Check this chart for a list of formats that can be brought in for mastering. Check the site map in case you have EQ, compression, hot CD or other questions that can be answered ahead of time! Consider if you want us to master your instrumental and/or TV mixes - it's easy to do!

FIVE QUICK TIPS WHEN MAKING YOUR MIXDOWN MASTERS:
1. If you must compress the stereo output buss, make an alternate version with less compression or none. When compression is over-done, it can restrict what's possible in mastering. It is good, however, to make a version with peak limiting on it to see how your mix holds up when the time comes to make the level hotter. Send both a limited and non-limited version to be mastered, or better yet, send Separations.

2. Listen to your favorite commercial CDs in the control room to compare with your sound. Use level-matching A/B listening.

3. Be aware of the level of the lead vocals from song-to-song. Listen again to your previous mixes.

4. Allow for extra time to mix. Nothing is worse at this critical stage than running out of money, and you end up stuck with less than the best. Mixing is a crucial point in your project.

5. Take breaks, have fun, and enjoy the process!

Q) My mixes sound good in the studio, but not at home or in the car.

A) Sounds like Studio Monitor Madness!

Q) For better sonic quality, you recommend mixing to a DAT machine or Masterlink instead of rendering (or bouncing) to a stereo data file in my computer. I have no idea how to work with DAT. What will I need?

A) Make a loop-back file. This is where you take the digital output of your DAW mix, loop it back into the digital input and record the stereo mix onto a new stereo track. Record these tracks at 24 bit, even if your recording is 16 bit. Burn those new stereo tracks onto a data disc. The mastering studio can then import those files as the source. This is as good as (or better than) a Masterlink - you just don't get the cool features of a Masterlink.

As far as a DAT machine, they are pretty much history.  Better to get an Alesis Masterlink. You can make CD copies on the Masterlink (with some basic DSP features) and keeps your master data at 24 bit. It's easy to use and will be around a long time, in my opinion. By the way, if you're not making Separations, and if possible, bring in the Masterlink to the session - the hard drive in the unit sounds better than the CDR files. But if you're making Separations on a Masterlink, the CD-24 discs are a great way to go and the width and definition of Separations adds a world of great sound quality to your product.

Make sure you buy the best digital cable you can afford when coming out of your DAW or stand-alone recording system. The Masterlink A-D converters are decent, but if you can get a higher quality A-D and go into the Masterlink digitally, that's better. 

Will the internal burner I already have work or do you prefer a mix on a DAT tape?

The internal burner in your computer (or Roland unit) could be one of the problems as to why your CDRs don't sound as good as what you hear when you're mixing. If the burner is burning at high speed, it make the sound more harsh. The rendered stereo file is another place of lost quality. That's why we recommend that you take the direct digital signal from your mixdown straight into a digital recording device. The cable, again, is important. Get the best you can afford.

Q) We have recorded the drums in "flat" (no EQ) with a Finalizer. Did we screw up?? -Clayton

If you like the sound you have now, that's the most important thing. It's not the method that counts, it's the results. I prefer to EQ to the multitrack master, some engineers prefer cutting all tracks flat and EQ'ing only at mix time.

Do we need to MIX at our studio or can you do it?

We can recommend talented engineers who work in Pro Tools, Nuendo, Digital Performer and more.

What is the preferred format for mastering - 1/2" reel-to-reel, DAT or audio or data CD?

After Separations, we prefer analog 1/2" or 1/4" reel-to-reel - 96k Masterlink 24 bit data CDRs - 24 bit DAT - AIFF files or WAV... loop-back files - but it's all good. Check out this chart.

I am interested in knowing what kinds of options are available, such as Dolby.

If you go analog for your mix, do not use Dolby. Just go elevated +5 or +6 at 30 ips. I have some cool secrets on alignment that your engineer may get into. Some people do like using Dolby SR at 15 ips, so that's something to consider, but it's not common.

Is it good for me to include info about my mics, size of room, processing equipment, etc.?

It's just helpful for us to know what the multitrack format is (2" tape, computer, DAW software, etc.) and the mixdown format (1/2" , 1/4", wav files, Masterlink, etc.) All the mics, room, and processing gear isn't important unless there's a specific problem that we find as we're going along.

Probably the Site Map is the way to see if there are additional articles that might help.

Is it possible for us to be present during the mastering process? Even though we live in southern Mexico, we are willing to come to you.

I've had clients from Mexico, Brazil, New York, New Orleans and Israel come here to attend sessions. There are a couple reasonably priced motels close by the studio. I look forward to hearing your project!

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