Which is the best format for me to send my Mixes on?
If you're mixing in the analog domain (analog mixing board or summing [g=182]amp[/g]), if mixing to analog 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 [g=395]bit[/g] depth and sampling rate). Use Dolby A/SR is fine, just please include a Dolby tone. DBX is fine as well, but not recommended. NOTE: We have just started receiving mixes recorded onto the Tascam DVRA 1000 standalone DSD recorder, and so far it's been working out quite well. Mixes in the analog domain may keep more of the "analog" feel if you mix to this format rather than a standard PCM digital format. Call us if you're curious.
For Digital mixes (mixing inside a computer or digital mixing board) we prefer DATa CDRs, but both Audio [g=420]CD[/g] and DAT are fine as well, just send us the most original - not just a copy. For digital mixes with higher sampling rates and [g=395]bit[/g] depths, Data CDR's are fine (we can accept all sampling rates up to 192Khz and 32bits). Please also save a backup of your mixes. We don't recommend sending your digital files over the internet, but if needed this is possible.
How should I send/label my Digital Mix Data to you?
We are equipped to easily handle DATa CDRs, DATa DVDRs, DDP images, Mini-disc, Jazz, Zip, SCSI, and Firewire hard drives (AIT and DLT tapes are possible but backup software version incompatibilities sometimes lead to headaches). Any other formats please call in advance. Please label all discs with the band/artist name (adding the date/phone number could be helpful as well). We prefer files to be WAV, AIF or SD2, in either 24 [g=395]bit[/g] or 16 [g=395]bit[/g] @ 44.1khz or higher, however, please do not change any sample rate or [g=395]bit[/g] depth to convenience us, we can and will handle the files in the best way possible (use the sample rate and [g=395]bit[/g] depth of the mix if you have any concerns). 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 don't always open perfectly). Please make sure to create a backup copy of your DATa for yourself before shipping it to us.
How should I send/label my Analog Mix Tape 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 playback speed and whether or not Noise Reduction was used (and which kind Dolby A/SR or DBX). Please print the following tones if possible - 1khz, 10khz, 15khz, 100hz and 50hz. Please call us if there is any confusion. If known, the make and model of the machine the master was recorded on may also be helpful. Please pack your tapes in a box with extra packing materials. We will use this same box to return ship your tapes back to you.
How should I prepare my [g=230]mixdown[/g] DAT to send to you?
Your DAT should be well labeled with clear writing (or typed). Each song/mix of a song should have its Absolute Time (A time) written next to the song/Mix name. on the [g=84]insert[/g] card. The choice mix to use could be designated on a sheet of paper and/or checked on the DAT label. Start IDs are not as important as exact start times. Sampling rate and [g=395]bit[/g] depth should be labeled on all DATs sent with the project (it may be obvious when inserted into the DAT machine but please label it as well). 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 Audio 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 [g=420]CD[/g] 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 [g=420]CD[/g]. Please check your [g=420]CD[/g] before sending it out as well to make sure there are no errors.
Do I need to attend the Mastering session?
Not at all, although many people do attend, and we suggest that you try to attend if you can. This is really up to you. Many of our sessions are unattended. Unfortunately, it usually takes longer to do a project while the band/artist is present. It's just what happens. So when the budget is small, we may suggest that we do it unattended, and allow you to hear the progress and direction using the internet, via our secure ftp site for downloading.
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, and then add one additional hour for editing, sequencing, SRC, [g=270]dithering[/g], making refs., etc., (it could take longer or it could go quickly, this is just a guide). If your [g=420]CD[/g] is 40 minutes long, plan on 5 hours (125/hr x 5 hrs = $625), plus a mandatory $25 backup fee and $2 for each disc. So… Plan on $575 to $650, 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 before beginning any unusual or time consuming procedures.
Should I compress my mixes in an attempt to make them louder?
This can only be answered if we hear what your mixes are sounding like, and what you desire you final [g=420]CD[/g] to sound like. Even then, compression used on a mix [g=183]bus[/g] can be an essential part of the mix, and just "taking it off", could make things worse. We sometimes suggest that project studios not compress their overall mixes (especially if you are not familiar with what limitations are created by over using two-mix compression). It is sometimes done poorly (irreversible) and we may 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 suggest your mixes should be peaking at around –4dB on digital meters (always below “0” or dBFS “Maximum”). This gives us more room to work with to make your song sound better (however, please don't feel the need to re-mix if your levels are lower or higher. Call us. This is just our suggestion if you are beginning or presently adjusting mixes). If overall [g=420]CD[/g] loudness is a concern for you, 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 [g=284]headroom[/g]) may prevent us from using processing here (talk to us if you have any concerns about this). This also doesn't mean just trimming your 2 mix master fader to -4dB. This may just take your flatlined mixes down 4dB (which happens a lot). Please call us if you're confused 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 or talk you through it.
How can I make my Attended mastering session go smoother/faster/better?
If possible, send in your mixes ahead of time. We will load all your data and listen to be sure there aren't any problems that you may not have been aware of. 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 (and the correct versions). Call ahead with any unorthodox questions or procedures you may wish to try (we may need extra time to perform some “post-production” processing). It's also a good idea not be bring un-necessary people along. We have a wireless network throughout our facility and will be happy to assign you a password if you like.
How can I make my Unattended mastering session go smoother/faster/better?
Please send in your mixes ahead of your scheduled session. We will take a preliminary listen to be certain there won't be problems in begininng your session. Include all contact information with your mixes (cell/work/home phone numbers and email addresses). 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 (and the correct versions). 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 is Mastering and what does it actually do?
On a technical side, mastering will prepare a final master format for replication or duplication. A verified error-checked master can be provided that will ensure the highest possible quality will be reproduced. On an artistic side, the mastering engineer can analyze the audio and makes decisions as to the overall tone, level and dynamic range of the music as a whole, and provides a uniform [g=184]balance[/g] for the entire sequence. By using processes like compression, limiting, equalization and other signal processing etc., we can help make your record sound the best it can. With EQ we can clear up frequencies to make your record sound clearer and/or bigger. By using compression we can help “glue” the mix together and give your record a sonic fullness that you may be looking for. This is all performed in an accurate [g=188]control room[/g] with high resolution monitors and amplifiers. Using Digital editing we are able to cut out unwanted parts, making songs flow smoother while cleaning up beginnings and endings of songs and creating a more enjoyable sequence (we are also able to “de-noise” projects with a high noise level, talk to us before hand and we can make certain we’ll have all the right additional audio that may be helpful). There are also special effects we can add to your record. Let us know if you have any ideas initially. We would never add effects without consulting you first (Often these are production ideas that come about after the mix was completed, or that the mix engineer felt he could not adequately provide). Overall, the process should make your [g=420]CD[/g] more listen-able on a wide range of playback systems, and bring it to it's fullest potential.
Why should I get my music mastered?
One main reason many people desire a mastering process is for perspective... so your mixes and album stand up today, and, years down the line. Having a fresh set of trained ears go through a record has long been an essential part of the recording process. Many people spend a great deal of time agonizing over the details of their album. Mastering brings in the fresh perspective that many people involved in the recording process dont have. We also enjoy getting involved during your recording process, to ensure your mastering can be it's best. Call us if your having concerns about your recordings. Remember, overall, the process should make your [g=420]CD[/g] more listen-able on a wide range of playback systems. All this must be done with great quality gear in an accurate [g=188]control room[/g].
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 (usually about an hour). 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-Finalizer/Finalizer Plus/L1/L2/L3/MAXIM/Soft Limiter/Inflator/Brick wall limiting/Loudness maximization before I send my master to you?
Only you can answer this, and if you're actually wondering about the answer, please do not do this! If you’re going to give us the opportunity to Master your music, don’t limit it too hard. This often should be the last stage of all the processing. You doing this makes it extremely hard for us to craft your mixes as best as we can. If you feel like one of these processes is an essential part of your mix, please give us a copy without it as well, and perhaps even let us know the setting that you used (we won't tell anyone)!
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 [g=420]CD[/g]-Rs/DVD-Rs 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 [g=420]CD[/g] 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 to get your project finished in the alloted time we've scheduled, but sometimes adjustments 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 [g=420]CD[/g]. And remember, very few [g=420]CD[/g] players actually can read this data.