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- Which is the best format for me to send my Mixes on?
If mixing to an analog format is an option for you, we
prefer analog Tape (1/2 inch or 1/4 inch) with a 1st generation digital
copy if possible. We would like all digital copies to be as close to
the first generation as possible (a copy from the best converters with
the highest bit depth and sampling rate). For 16bit digital mixes, we
prefer DATa CDRs, but both Audio CD and DAT are fine as well, just send us the most original
- not just a copy. For digital mixes with higher sampling rates and
bit depths, CDRoms are fine (we can accept all sampling rates up to
192Khz and 24bits).
- How should I prepare my DAT to send to you?
Your DAT
should be well labeled and clearly written (or typed). Each song/mix
of a song should have its Absolute Time (A time) written next to the
song/Mix name. The choice mix to use should be designated on a sheet
of paper and checked on the DAT label. Start IDs are not as important
as exact start times. Sampling rate and bit depth should be labeled
on all DATs sent with the project. Audio material should start 2 minutes
into the DAT to prevent errors that are inherit in the DAT format that
occur at the beginning of the DAT tape. On another sheet of paper, the final order and spacing for each
song should be designated.
- How should I prepare my CDR to send to you?
Your CDR
should be well labeled and the tray card (title sheet) clearly written
or typed. If possible, a Start ID should be at the top of each track
(If Ids are not possible, please designate song/mix name for each track
with the start time from the CD player read out. The appropriate mix
to use should be sent on a sheet of paper or underlined/checked on the
label. If the CDR was written with an Alesis Masterlink please specify.
Please make sure if you are using a non-computer linked CDR to finalize
your CD. Please check your CD before sending it out as well to make
sure there are no errors.
- How should I prepare DATa to send you?
We are
equipped to easily handle DATa CDRs, DATa DVDRs, Jazz, Zip, SCSI and
Firewire hardrives (AIT and DLT tapes are possible but backup software
version incompatibilities sometimes lead to headaches). Any other formats
please call in advance. We prefer files to be SD2, AIF or WAV, in either 24 bit or 16 bit @ 44.1khz or higher, however, please
do not change any sample rate or bit depth to convenience us, we can
and will handle the files in the best way possible. Please label all
files clearly with song/mix name. For split files please label stereo
files with a ".L" (for Left) and ".R" (for Right).
We do accept Pro Tools session Files if you wish to sequence your mixes.
Please include on a piece of paper all relevant session info with the
song sequence (“Read Me” files can sometimes be difficult
to open). Please make sure to create a backup copy of your DATa for
yourself.
- How should I send my analog Tape Based Master to you?
Your Tape
should be clearly labeled with each song having an approximate start
time written next to the song/Mix name. Please specify the make and
model of the machine the master was recorded on, playback speed and
whether or not Noise Reduction was used (and which kind). Please print
the following tones if possible - 1khz, 10khz, 15khz, 100hz and 50hz.
Please call us if there is any confusion.
- Do I need to attend the Mastering session?
Not at
all, although many people do attend. This is really up to you. Many of our most noteable sessions have been unattended. Unfortunately it usually takes
longer to do a project while the artist is present. We don't mind, it's just what happens. So when the budget
is small, we suggest that we do it unattended, send you a copy, and
perhaps make any changes using the internet (via our ftp site) and/or fedex/UPS.
- How Much does a session usually cost?
There are
too many variables to give exact price quotes, but through the years
we’ve recognized that it usually takes about an hour to master each 10
minutes of audio (it could take longer or it could go quickly, this is just a guide). If your CD is 40 minutes long, plan on 4 hours (125/hr
x 4 hrs = $500), plus a mandatory $25 backup fee and $2 for each disc.
So… Plan on $475 to $550, provided we don’t have any problems.
We always try to move the session along as quick as possible and we’re
always willing to work within your budget or PO limit. If there are problems, or we feel that it could take significantly longer, we would always call to talk things over befrore beginning any unusual or time consuming procedures.
- Why shouldn’t I compress my mixes to make it louder?
We sometimes
suggest that project studios not to compress their overall mixes. It
is sometimes done poorly (irreversible) and we can therefore achieve
better results here. We can often listen to a reference mix (sent prior
to final mixing) to evaluate the overall feel and compression of a mix.
However if you are confidant in your ability to make this judgment,
a great blend can be had on your own (if possible, print a mix with
and without compression if you feel uncertain).
- What level should I print my Digital Mix at?
We always
suggest mixes be peaking at –4dB on digital meters (always below
“0” or dbfs “Max”). This gives us more room to work
with to make your product sound better. Have confidence that we can
and will make your music as loud as possible (obviously within limits
that can be discussed). Your “brick wall” (maxing out the
headroom) will prevent us from using our compression here (talk to us
if you have any concerns about this).
- What Level should I print my analog mix at?
OK, this
is a tough one. Lots of people have various results with using Tape
as a mixing tool or effect. Listening to your playback (repro head)
and experimenting with tape compression is a great thing. But remember
– this is irreversible! If you have reservations about committing
to this process, do a version with a lower recording level as well.
We suggest you set your tape recorder to record at 320 nw/m (plus or
minus 3 to 5 db to your taste). If you’re unfamiliar with calibrating
your tape machine’s alignment, please call us. We can’t easily
do it for you, but we may be able to help.
- How can I make the mastering session go smoother?
Be prepared
with sequence and spacing ideas already chosen. Have the mixes clearly
labeled. Take note of any edits or problem areas beforehand. Check all
the mixes and make sure everything is as you remembered it. Call ahead
with any unorthodox questions or procedures you may wish to try (we
may need extra time to perform some “post-production” processing).
- What does Mastering actually do?
The mastering
engineer analyses the audio and makes decisions as to the overall tone,
level and dynamic range of the music as a whole. By using compression
and EQ (Digital Signal Processing and more), we can make your record
sound the best it can sound. With EQ we can clear up frequencies to
make your record sound clearer and bigger. By using compression we can
help “glue” the mix together and give your record the sonic
loudness that other CDs have. Using Digital editing we are able to cut
out unwanted parts, make songs flow smoother and clean up beginnings
and endings of songs (we are also able to “de-noise” projects
with a high noise level, talk to us beforehand and we can make certain
we’ll have all the right additional audio). There are also many
special effects we can add to your record (let us know if you have any
ideas initially. We won’t normally add effects without consulting
you first).
- Why does my record need to be mastered?
Perspective
so your mixes stand up today, and, years down the line. ANY IDEAS?
- Can you “bounce” or record my Digital mixes to Analog
tape?
Yes, although
this will add to the time it will take to complete your project. This
is a wonderful process but it’s not right for everyone. Talk to
us, and we’ll be happy to let you know what we think.
- Should I use a TC-Finaliser/L1/L2/MAXIM/T-RACKS/Soft Limiter/Brick
wall limiting/Loudness maximization before I send my master to you?
Please
do not do this! If you’re going to give us the opportunity to Master
your music, don’t limit us (sorry...). This should be the last stage in the process. You doing this
makes it extremely hard for us to craft your mixes as well as we could.
If you feel like one of these processes is an essential part of your
mix, please give us a copy without it as well!
- What are some common mistakes?
1. Don’t
over-compress unless you’re certain you love what you’re hearing.
Remember, you can always send us a copy with less compression as well.
2. Buying poor quality CDs and burning them at too high a speed in a
bad burner. A general rule of thumb is you should spend at least 50
cents per CD to get a quality disc that shouldn’t fail. Burn your
discs at half the maximum speed your burner (or less). Burning at 40x
speed will not save you time when you have to re-burn it (or even remix
if these are your only backups!). Always verify your discs if possible!
3. Leave some time in your production schedule to make changes. We do
our best at getting it right the first time, but sometimes readjustments
are necessary. Don’t rush what you’ve taken so long to get
right.
4. Let us know which pressing plant you may be using. Although most
brokers and plants are professional, we know some facilities that may
not meet our standards.
- Can you add a "secret" track before the first track?
Yes. But this process takes more time to create. Ask us about the details if you'd like to consider this process on your CD.
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