Mastering FAQ
The Mastering Process:
The mastering process involves a number of small but essential tasks that are best performed by an experienced engineer in a tuned and extremely accurate environment.
These tasks include:
- •Balancing the spectral imprint of each song. - This is accomplished with careful and subtle equalization and compression. This is important to make a CD sound consistent from one song to the next. As a result of this step, clients usually find that the voices and instruments become more clear or articulate.
- •The transfer of audio from it’s mix format (24-bit WAV or AIFF file) to the duplication standard – 16 bit/44.1 kHz Red Book CD.
- •Sequencing of the songs in the correct order complete with intro and outro fades.
- •CD text and ISRC encoding.
- •Dither (if required)
- •Creation of the duplication master, reference CDs, and PQ sheet. - The PQ sheet is a document that is attached to each duplication master that leaves the studio. It provides specific information to the duplicator that enable them to do their job without unnecessary transfers and the resulting loss of audio quality that may come with additional transfers.
Editing within a song is not generally done at mastering, but can be. Please indicate this in advance.
What do I bring to the session?
Over half of our clients prefer to attend at least the last hour of their mastering session. However, many drop off hard drives, data discs, or upload their files onto our FTP server.
If you are bringing 24-bit audio files, please bring the final mixes in the form of hi resolution data files — try to avoid bringing an audio disc if possible. The higher sampling rates (96k or 88.2k) often make the best results, however please don’t transfer or bounce a lower resolution file from 44.1k or 48k up to a higher sampling rate – not worth risking the fidelity of the final product.
Our preference is 24-bit, 96k WAV files.
Bring the exact and final spellings of each song and the ALBUM ORDER, as well as the name of the CD.
File Transfer Protocol (FTP):
Gravity offers free online server space for clients to upload source files from their home or studio. In turn, (once the bill has been paid w/ VISA or MC) we can upload the mastered songs for you to download. This has proved to be really convenient for our long-distance clients — no postage or long waits!
How much will it cost?
Although we can’t guarantee that we’ll reach our estimated goal, Doug reaches the time estimate 95% of the time. You can estimate your mastering bill by taking the following into consideration:
Come prepared! If you bring a PC compatible Firewire hard drive, Doug can work right off that drive. On the other hand, your mix upload time could be made longer if you bring in dual mono files rather than stereo files, or if you bring a hard drive that isn’t compatible with a PC.
Certain styles of music are quicker to master than others. If the instrumentation is similar on each song that will make it quicker. In addition, if each of the 10 songs were mixed at a different studio by a different engineer then it could take a good bit of time to “bring the album together” sonically.
Artist’s input: we welcome the input of the artist, however it can become costly if the band chooses to listen to each song four times before approving the equalization.
CD refs: Gravity doesn’t currently offer short run duplication service. Therefore, it’s best to have us make the duplication master and a single CD reference copy. From that copy you can make a few “short term” copies for the band members or label. It takes time to burn, and verify CD refs.
Doug’s hourly rate is $125/hr. Let’s assume that the songs in question were all mixed in a single block of time, at the same studio, by the same mix engineer. If we also assume that the songs are in the 3 to 4 minute range, then you may be looking at:
2 song demo = 1.75 hrs
3 song demo = 2.75 hrs
5 song EP = 3.75 hrs
8 song CD = 5.75 hrs
10 song CD = 7 hrs
12 song CD = 8 hrs
It’s common for mix engineers to apply EQ and/or compression to their whole mix. We’ve found that saving those decisions for the mastering stage can be ideal. However the most import “Don’t” is limiting or normalizing the mix. If either of these occur before mastering it really ties the hands of the mastering engineer.