Session Preparation   /   Info

Accepted Mixdown Formats
- 1/4" & 1/2" analog 2 track (*see 'analog tape' below)
- Data files (wav, aiff, sdll )
- DAT
- Audio CD
- Analog compact cassette (stereo only)

If you wish to use FTP to submit mix files, please contact us to set up your secure profile

Documentation
Carefully identify everything
(session & mix versions, file sample rates and wordlength...)

ISRCs
If you wish to have codes imbedded in your production master,
you must obtain them prior to the mastering session. For canadian
artists and labels they can be requested on-line at the CRIA website
http://avla.ca/isrc

Bring Backups
Always bring a safety copy of your mixes on a separate disk, drive or tape. For analogue masters it's recommended to bring 24 bit data files of the mixdown as well.

Analog Tape:
Please include tape speed & record level in nWb/m
For 15 ips indicate which EQ curve used (along with any special playback adjustments)
Alignment tones: 1K, 100Hz, 10K essential.
50Hz or 60Hz, 15K or 16K strongly encouraged (no dolby please)

The following is a guide to help prepare your mixes for mastering.

• Mix Levels

  • Whether printing to analog tape or writing to hard drive,
  be aware of the headroom of your signal chain
  • For digital formats a mix peak level of -4 or -5dBfs at 24 bit is
  sufficient to insure good low level resolution while preserving the headroom
  necessary for final dynamic and level adjustment
  • Always listen carefully to your final mixdown prior to the
  mastering session, to insure there are no glitches or distortion,
  and that the dynamics of your mix have not been compromised.
  • In the case of a software bounce to stereo, insure that no distortion
  or artifacts have been introduced as a result of the bounce (watch
  for plug-in clipping)
  

  
  

• Mix Bus Compression

  • If you mix into a bus compressor do so to achieve balance and
  glue, and not for level
  • Allow the mastering engineer the latitude to appropriately compress
  your mixes ( or not !), using the best sounding gear available. Eq can
  be modified, but over or inappropriate compression cannot be undone.

  
  

• Mix Eq

  • Use eq judiciously on your final mix, remaining aware of the
  limitations of your monitoring.
  • Avoid excessive high mid and high frequency boosts, particularly
  in the case of digital eq (as a general rule, it is more efficient and
  more musical to open the top end of a mix appropriately at mastering,
  rather than attempt to control excessive harshness and sibilance
  while maintaining clarity)

  
  

• Sample Rates, Wordlength And File Formats

  • For mixes on workstations or software data files (.aiff, .wav, .sdll )
  use 24 bit files where possible
  • Avoid sample rate conversion and wordlength reduction (and dither!),
  as these are best done once at the mastering stage

  
  

• Editing, Sequencing And Fades

  Album 'pacing''
  • sequencing, song transitions and fades are a standard part of the
  mastering process. However, if pacing and fades have already been
  decided, or in the context of a live recording or dj mix session, the
  sequenced album can be brought as a continuous data file
  (if you are not completely certain about your fades bring the
  unrendered audio files also)

  
  

Other Suggestions

• Alternate mixes

  • If you are uncertain as to the level of the vocal in your mix, bring alter
  nate versions; Ex, vocal 1 dB up, vocal 1.5 dB down, etc.

  
  

• Stem Mastering

  • Where necessary it is possible to master from a stems version of the
  mix down. This allows for dynamic, level and eq adjustment beyond
  the scope of a stereo mastering session
  (and of course is a longer, more time consuming approach)

  
  

• References

  A helpful way to communicate your desires to the mastering engineer
  is to bring along records which you feel are good examples of the vibe,
  aesthetic and level you wish to achieve. They will also serve as a reference
  point for you in an unfamiliar listening environment.

  
  

• Book ahead

  • During peak periods throughout the year demand is high and waiting times can be as long as a month.
  We recommend that you book in advance, taking into consideration the delivery date for pressing,
  factoring in a few days latitude to listen to the final master before it goes off to the plant.