People rarely ask me what they should do when theyâ€™re going to submit a demo/compilation/EP/album/whatever to get mastered. Iâ€™ve had plenty of discussions to this effect, though, with other people who do this for a living, and they all end up saying pretty much the same thing. Here are a few simple admonitions for musicians young and old…
Donâ€™t try to do it first. There is nothing, and I mean NOTHING worse to a masterer than getting a mixdown thatâ€™s been compressed, limited and EQed already. If you were able to do all that stuff already, whatâ€™re you paying me for? Masterers generally have tools made specifically for this purpose, and theyâ€™re often a lot more precise than whatever compressor came with SoundForge. Mastering canâ€™t fix something thatâ€™s already â€œmasteredâ€ incorrectly…a little surgery, sure, but if youâ€™ve already squished the dynamics out of your mix, thereâ€™s nothing we can do to save that.
Get Organized. Give your masterer everything he needs to get it right the first time. Make sure all your tracks are in the right format, on one or two CDs, the copies are clean, everythingâ€™s in order, your filenames (where applicable) make sense, and your masterer has a good idea of what order everything goes in. If your mastering house charges by the hour, you want them to be spending their time – and your money – making your tracks sound good, not shuffling through 5 CDs each labeled â€œunmastered tracksâ€ trying to figure out if â€œtrkThingTechno.wavâ€ is supposed to be track 8.
Headroom! Mastering needs a little to work with, since it will be adjusting relative balances, doing some compression, etc. You donâ€™t need to drive everything to peak at 0dbâ€¦in fact if you do, itâ€™s gunna get turned down anyway. Youâ€™ll end up with a much cleaner final version if you let the masterer handle the volume levels. Of course, you donâ€™t want it so quiet that you fall through your noise floor, but a few db is a lot of help. If you can provide everything at 24-bit, then do – it gives a lot more room to work.
Know what you want. Life will be easier for the masterer – and cheaper for you – if you can write down, or at the very least tell, any special needs you may have. Think track 5 needs to be mastered like a dance track? Actually want overcompression pumping on track 7? Need a fadeout at 5:15-5:20 on track 9? Write that stuff down. Itâ€™ll save everybody headaches later. Youâ€™ll get what you want, ther mastering will be more organized, and youâ€™ll have an exact record of what you asked for.
Keep in contact. It is entirely feasible to fire-and-forget on an a mastering job. You send it off, you wait three weeks or whatever, and you get back a shiny new CD. However, this is really only advisable if you trust the person youâ€™re working with implicitly. Most mastering engineers, myself inlcuded, will gladly do a demo track for you. It won’t be perfect, since it’s a rough master of a minute or so of a track, just so you can hear what youâ€™re getting in advance, but it’ll give you an idea of what to expect. We may have questions for you, too, so keep in contact. Everything will go smoothly.
Compilation Mastering is Hard. When mastering an individual album, we can expect a little consistancy in sound. When mastering a compilation, we’re faced with a dozen different mixing styles, levels, etc. It requires concentration and a bit of mojo to get the compilation to not have wildly uneven levels and EQ profiles. Nothing throws off the process like finding a track in the middle thatâ€™s already been mastered by someone else. Whether by the artist or by another masterer, itâ€™s going to cause problems. You canâ€™t unmaster a track, so whoever is doing the compilation is stuck with those levels, EQ and compression and either needs to match the rest of the album to that (made impossble if thereâ€™s more than one track with pre-matering) or more than likely your track will get ignored and sound out-of-place. Or even worse, get over-mastered for the sake of the compilation, but to the detriment of your track. Of course, some low-budget compilations donâ€™t get mastered, they rely on having individual tracks submitted already mastered. This usually makes for crappy compilations, but sometimes it canâ€™t be helped. When in doubt, send the compiler both a mastered and unmastered version of the track.
A masterer is just someone with good ears and good gear, not a magician. A final master is only ever going to be as good as the source will allow. A badly recorded mixdown canâ€™t be â€œfixedâ€ by mastering. Low-fidelity recordings canâ€™t be improved much by judicious use of EQ and compression. If you give your masterer a bunch of mp3 files, donâ€™t expect a super-high-fidelity result. We’ll work with you, though, to help yopu get it right up front. If you can go higher than CD quality, by all means, do it. If your system can support recording in higher-bitrate formats, it wonâ€™t hurt to do that. If your system canâ€™t, well, use the highest available to you and leave any upsampling to your engineer. And for godâ€™s sake donâ€™t downsample unless you have to. And if you for some unholy reason have to, avoid dithering and noise shaping, since that will interfere with the mastering process.
So there you go. Some tips to save you money and time, and save your mastering engineer a lot of headaches.