preparing tracks to send to the mastering house

[ApolloSpeed]

Well, I just finished tracking and mixing for my first record Label project.

The Label is paying for the mastering, packaging, and distribution. They also told me to just send the files in CDA format. Wtf???


Any tips on what all I need to do to get ready for sending this out?

 

[punkrockacademyfightsong]

are you sure both you and the label are talking about the PRE mastering?
I'm kind of getting the idea that the label is thinking about the glass mastering, so they are expecting a redbook CD from you, pre mastered and well.

just ask them who is doing the mastering and contact the mastering engineer. he'll tell you his preferred way to receive the files.

 

[ArtGarceau]

-Make sure the songs sound done to you.
-Contact the ME for their preffered format.

 

[Melodeath]

Done?

So if you are sending stuff off to a ME, should you not put a limiter and various other things on the master bus to get loudness?

 

[ArtGarceau]

Loud and done are two different things. Turn up the volume knob if you want to hear it loud.

What I mean by done is:

"The guitars still sound fizzy...it's ok though because the ME will fix it."
"This song sounds kinda crappy...mastering will fix it."

You don't want to be saying stuff like that.

 

[ApolloSpeed]

so, I need to pretty much have everything finished and presented on a cd, like I was doing the complete cd. But just do not add any final compression, eq, or limiting.

 

[Gomez]

Hey

I always recommend sending both versions - one clean and another with a bit of comp if you like it - don't put stuff around on the master fader because you should. 9.5 out of 10 time I end up using the version without processing. Leave at least 3dB of headroom on the final mix and send the files at the same res you recorded (do not up/down sample).

You can send the album to me if you like. Years of experience, best quality analog outboard, real world prices, satisfaction guaranteed.

PM if you interested or if you have questions.

Good luck!

 

[Pedro Teixeira]

I'm sorry to break the thread, but how do you "leave" 3dB of headroom?! I usually mix with a compressor on the master bus compressing -1dB maximum!! But how should one leave those 3dB headroom for example?

 

[Jaymz]

I'm sorry to break the thread, but how do you "leave" 3dB of headroom?! I usually mix with a compressor on the master bus compressing -1dB maximum!! But how should one leave those 3dB headroom for example?

Basically don't use a shit load of makeup gain which pushes the mix past -3db, some headroom is essential for the mastering engineer.

 

[Pedro Teixeira]

And is there some way to check how the overall mix is, I believe using like SPAN will not be enough because while the whole mix could be averaging -14dB let's say... some elements could be "over the top", I suck at english and I suck at explaining what I'm thinking in english bah :|

 

[Joshua Wickman]

The mastering engineer does not have a ftp?

Also yea you can also bounce down stems as well if the mastering engineer wants them or you want him to have more control. I mix through compression so it usually stays on when sent to the mastering engineer but i make sure there is still plenty of headroom for him to do his thing.

 

[M.Lehto]

It's also good to be in contact with the ME as you might want to hear a sample of the mastering if there's going to be bigger changes on sound.

 

[Hotstuff]

How do you mix so that its peaking at -3d peak?
You should start mixing at lower levels, it will sound better in the end in the digital domain, if it doesn´t sound loud enough just turn up the volume. I usually mix so that it averages -6bd and peaks -3db, this way there is loads of headroom for mastering, this with a compressor on with about -2 to -4db of gain reduction.

 

[fatalforce]

I would just ask the mastering engineer if he wants stems or just your 2mix. I'd give the band and label a version with compression and then no compression to the mastering engineer. Better just ask.

 

[Gomez]

OK OK

Number one: I do not like mixes that are already compressed - why? because most bedroom stuff I get is over cooked anyway... plus compression?! I can't do much work on a brick. Don't want to sound like a dick, but why would you pay a master engineer when you have already decided to commence with his job and limit his chances to make a great record?

Number 2, yes, leave some bloody headroom! just turn that master fader down a touch and remove you L2 thingy from it so you can see the meters moving without going into the red... pretty simple... a master engineer will take care of that and would have (in most cases I hope) better tools, monitos, ears and so on...

It really pisses me off when I tell a band to send me uncompressed files and they still get here at -9RMS!

GOmez

 

[Gomez]

I would just ask the mastering engineer if he wants stems or just your 2mix. I'd give the band and label a version with compression and then no compression to the mastering engineer. Better just ask.

hey

Asking the mastering engineer if he wants stems is very important as a lot of them (myself included) don't master with stems... that is MIXING!

It happened to me a long time ago that I took an HD with all the stems and mixes. We were really paranoid about the mix being right and supplied the engineer with the stems. He told us that there was no way he'd do it, he wanted stereo mixes...

You guys should always try to get your mixes as good as you can instead of start chucking plugs on the master buss... even if you are doing DIY mastering.

 

[Pedro Teixeira]

OK OK

Number one: I do not like mixes that are already compressed - why? because most bedroom stuff I get is over cooked anyway... plus compression?! I can't do much work on a brick. Don't want to sound like a dick, but why would you pay a master engineer when you have already decided to commence with his job and limit his chances to make a great record?

Number 2, yes, leave some bloody headroom! just turn that master fader down a touch and remove you L2 thingy from it so you can see the meters moving without going into the red... pretty simple... a master engineer will take care of that and would have (in most cases I hope) better tools, monitos, ears and so on...

It really pisses me off when I tell a band to send me uncompressed files and they still get here at -9RMS!

GOmez

Hey Gomes,

I always mix with a compressor on the master bus, but the compressor is doing 1dB-2dB MAX reduction, needle almost doesn't move, but it seems to help "glue" the whole mix. If I want to send without compressor, should I remove it and turn down the MASTER FADER? Because I know it could me a myth, but I always thought it should always stay at zero... there is no harm in any way on doing that? Because it's the only way to not peak unless you remix everything again...

Thanks!!

Edit: Just tried removing the compressor from the master, and turning the master bus fader down, and the mix changes a bit, volumes change quite a bit... Is it really right turning the master fader down?

 

[Gomez]

hey man

as far as I'm aware yes... that's what I do when I mix... turn it down a bit. And I never use any plugs on the master - I leave that for mastering.

In pro tools, when I select ALL the faders and knock the level down, I hear a difference in the mix... however, when I turn the master fader down a touch, that doesn't happen...

OK, so let's be a bit more objective about this... If you have a snare drum that is very snappy and it's the loudest thing in the mix, it's very likely that the peak of that snare is a lot higher (sharp transient) than the rest of the program. So if you set your mix so that the peak of that super loud snappy snare sits at -4dB, it might make no sense (snare solo album)... having that comp on the master buss is helping you to catch that transient at 0dB... So what I want to say, if this is the case (or similar) then leave things as they are and the ME will deal with it... not the best, but it's workable...

...But think about this: If you send me a mix that peaks at 0 and I want to add 2dB of top and a tad of bottom end what's going to happen? it's going to the RED. not the end of the world, but if you want me to "enhance" your mix you should leave us some room to work.

I hope this helps (?)

Oh and BTW, in some cases I have normalised (peak) tracks down in level to get a bit of headroom to work on... not a pretty practise when you are as OCD as I am, but sometimes we just have to do things like that... crazy world.

 

[Pedro Teixeira]

I know what you mean I'm pretty OCD about these things too, hence all these questions! I messed with one mix I had here, and the snare is ultra snappy, pretty sharp, so I took the compressor off, and turned the master fader down, and the snare did stay the same, as well as the toms for example, but the kick took a a bit of suffering and drum volumes seemed wrong, where as before the kick was much more punchy and piercing very well. It's not that BIG of a deal, just some minor adjustments... but I had to get the master fader somewhat below not just a bit :X I guess I mix too loud for my own good :S

But what would you recommend in mixing, could I mix everything with the compressor on the 2bus doing 1db/2dB MAX, which means almost nothing, and then in the end when sending to a ME, taking that comp off and lowering the master fader?

 

[Machinated]

As far as I have been led to believe....

if you are mixing through a compressor (and its only taking off 1-2dB), you should leave it on when you bounce your mix. as you said, taking it off will change the balance of your mix as you have made decisions on your mix based on what the compressor is doing to it. mixing through a compressor is pretty different to not mixing through a compressor and then using one after the mix as the decisions you make on the mix will be different....

but again maybe better to talk to the mastering house about what they think - personally I think 1 or 2dB being taken off a mix shouldn't be a problem - sending a mix that is already limited and loud would be a problem.