Preparation
and delivery criteria
Preparation advice to get the best pre mastering results possible before mastering begins
Embedded Files
Delivery Criteria for mastering
Delivery Criteria for mastering
Track delivery for stereo mastering:
Track delivery for stereo mastering:
Delivery of tracks for mastering should be 24bit 44.1khz WAV with a peak level of around -6db with no plugins or processing used on the master channel.
Delivery of tracks for mastering should be 24bit 44.1khz WAV with a peak level of around -6db with no plugins or processing used on the master channel.
Track delivery for stem mix & mastering:
Track delivery for stem mix & mastering:
Delivery of tracks for stem mastering should be 24bit 44.1khz WAV files with no plugins or processing used on the master channel.
Delivery of tracks for stem mastering should be 24bit 44.1khz WAV files with no plugins or processing used on the master channel.
An ideal stem mix would usually be 8-12 or more stems including: Kick, Bass, Closed Hats, Open Hats, Snare, Crash, Breaks/Percussion, Sounds. This selection focusses mainly on seperating the drum mix to get the drums and bass well in order, expanding that selection to split the sounds up could include Leads, Pads, Atmos and FX would give even greater flexibility to the mastering engineer.
An ideal stem mix would usually be 8-12 or more stems including: Kick, Bass, Closed Hats, Open Hats, Snare, Crash, Breaks/Percussion, Sounds. This selection focusses mainly on seperating the drum mix to get the drums and bass well in order, expanding that selection to split the sounds up could include Leads, Pads, Atmos and FX would give even greater flexibility to the mastering engineer.
When preparing a stem mix would I advise using the K-scale approach by setting the kick or loudest aspect to around -15db as a starting point and balance the rest of the mix from that whilst using an analyzer to check that things are hitting the right levels. This will give you some overhead when balancing the mix and actually makes mixing easier.
When preparing a stem mix would I advise using the K-scale approach by setting the kick or loudest aspect to around -15db as a starting point and balance the rest of the mix from that whilst using an analyzer to check that things are hitting the right levels. This will give you some overhead when balancing the mix and actually makes mixing easier.
TIPS : How to best prepare your pre master mix for the mastering process
TIPS : How to best prepare your pre master mix for the mastering process
An ideal mastering should need only small changes to sweeten and enhance what is already sounding good in the mix. Achieving the correct spectral balance and in your mix can really help to reduce compromises at the mastering stage.
An ideal mastering should need only small changes to sweeten and enhance what is already sounding good in the mix. Achieving the correct spectral balance and in your mix can really help to reduce compromises at the mastering stage.
When mastering its always best to be making small changes in terms of how much processing needs to be applied to reach the ideal spectral shape. Of course using your ears is really important but unless your room is perfectly calibrated the use of an analyzer is fairly important to help you set levels in the mix and aim to achieve an ideal curve.
When mastering its always best to be making small changes in terms of how much processing needs to be applied to reach the ideal spectral shape. Of course using your ears is really important but unless your room is perfectly calibrated the use of an analyzer is fairly important to help you set levels in the mix and aim to achieve an ideal curve.
An Ideal spectral shape:
An Ideal spectral shape:
In this image of a mastered psytrance track being analyzed we can see the spectral shape displayed using the Logic Pro Multimeter & RME analyzer, it may read differently on a different analyzer depending on the slope settings. Using the RME (green) as an example we can see the Low frequencies are around 6db above the mids and the highs are at a similar level.
In this image of a mastered psytrance track being analyzed we can see the spectral shape displayed using the Logic Pro Multimeter & RME analyzer, it may read differently on a different analyzer depending on the slope settings. Using the RME (green) as an example we can see the Low frequencies are around 6db above the mids and the highs are at a similar level.
Low mid and High mid dips:
Low mid and High mid dips:
There is a dip in the kick and bass around the 250hz mark, this prevents a boxy low mid forward sound. You can also see a similar dip in the high mids at around 6.5khz which is where harshness lives, ensuring these two areas are dipped results in seperation between the low, mid and high bands. This makes it have a defined low end and smooth highs.
There is a dip in the kick and bass around the 250hz mark, this prevents a boxy low mid forward sound. You can also see a similar dip in the high mids at around 6.5khz which is where harshness lives, ensuring these two areas are dipped results in seperation between the low, mid and high bands. This makes it have a defined low end and smooth highs.
The low mid dip also leaves an important space for the low mids in the rest of sounds to come through giving more warmth to the sounds in the mix. The high mid dip ensures a smooth and more detailed sounding top end that feels softer and smoother on the ears yet has sparkle and clarity.
The low mid dip also leaves an important space for the low mids in the rest of sounds to come through giving more warmth to the sounds in the mix. The high mid dip ensures a smooth and more detailed sounding top end that feels softer and smoother on the ears yet has sparkle and clarity.
Genre specific curves:
Genre specific curves:
The low mid and high mid dips will work well for any style of music although the target curve is genre dependent. Contact me to discuss your genre and provide your track with references and I can provide you with information about what needs adjusting. Different genres and sub genres require different loudness levels at the mastering stage depending on style to be competitive with what other releases are out there that the DJ's may be playing.
The low mid and high mid dips will work well for any style of music although the target curve is genre dependent. Contact me to discuss your genre and provide your track with references and I can provide you with information about what needs adjusting. Different genres and sub genres require different loudness levels at the mastering stage depending on style to be competitive with what other releases are out there that the DJ's may be playing.
Frequency distribution:
Frequency distribution:
The low end of the kick and bass has a nice wide bell shape and not a peaky narrow distribution, also it has a decent amount of sub content giving weight. The kick mid punch should usually fall somewhere between 2-3khz and the loudest sounds shouldn't really reach a higher volume level than the kick punch as a maximum reference point.
The low end of the kick and bass has a nice wide bell shape and not a peaky narrow distribution, also it has a decent amount of sub content giving weight. The kick mid punch should usually fall somewhere between 2-3khz and the loudest sounds shouldn't really reach a higher volume level than the kick punch as a maximum reference point.
Overall using the above image as a rough guide you can see theres a nice rounded bell shape for the lows the mids are separated from the highs and form a bell from around 250-4.5k then the highs slope from the 6.5k dip up to 12.5k where they then slope off quite quickly.
Overall using the above image as a rough guide you can see theres a nice rounded bell shape for the lows the mids are separated from the highs and form a bell from around 250-4.5k then the highs slope from the 6.5k dip up to 12.5k where they then slope off quite quickly.
For 4/4 Electronic dance music this is the general spectral shape I am hoping to recieve although if its a few dbs out in any direction overall its not a big deal, thats what the mastering is for, sometimes its ok to leave the HF a few dbs down from the target and allow the lift in the highs in the mastering stage but the lows and mids should ideally be in order.
For 4/4 Electronic dance music this is the general spectral shape I am hoping to recieve although if its a few dbs out in any direction overall its not a big deal, thats what the mastering is for, sometimes its ok to leave the HF a few dbs down from the target and allow the lift in the highs in the mastering stage but the lows and mids should ideally be in order.
Headphone monitoring:
Headphone monitoring:
A good pair of headphones can serve as a good reference point once you learn how they sound as the room acoustics are removed from the equation. They can also help for listening to the low sub frequencies if you are working with 2 way monitors or without sub bass monitoring.
A good pair of headphones can serve as a good reference point once you learn how they sound as the room acoustics are removed from the equation. They can also help for listening to the low sub frequencies if you are working with 2 way monitors or without sub bass monitoring.
Loudness levels (LUFS) & final adjustments:
Loudness levels (LUFS) & final adjustments:
Psytrance & Techno is usually between -6/7db LUFS (loudness units) where as hi-tech and drum and bass might be as high as -4db LUFS. If after preparation and any pre-master advice I try to master the track and still have any issues I will feedback again as to what should be adjusted. This assists the artist to improve and nail the production, thus improving and developing the producers ability and this also makes the act of mastering easier by reducing any compromises.
Psytrance & Techno is usually between -6/7db LUFS (loudness units) where as hi-tech and drum and bass might be as high as -4db LUFS. If after preparation and any pre-master advice I try to master the track and still have any issues I will feedback again as to what should be adjusted. This assists the artist to improve and nail the production, thus improving and developing the producers ability and this also makes the act of mastering easier by reducing any compromises.
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