A master can only be as good as the original recording and/or mix. There are measures we can take to clean things up a bit, but sonic elements can't be removed from a stereo mix without negatively affecting something else. Some of the things we list below aren't the end of the world (there are countless classics with all sorts of engineering and performance issues that are great either because of or despite these defects), just something to keep in mind when you're creating your future classics. Please read on...

1. Buyer beware! If someone's charging you a mastering rate too good to be true (do a little research to get some perspective), they're probably running your precious mixes through cheap software presets and paying little or no attention to your baby. If that's OK with you, you should look into purchasing your own software and doing it yourself. Afterall, you're probably just as qualified as the guy you'd be hiring.

2. CHECK YOUR PHASE while recording and mixing (especially on overheads... although electronic sounds and samples can have phase issues too. For exp: double-triggered midi notes or mono samples used as stereo). Also, DON'T MIX two different stereo mixes of the same song together... especially if they're only subtly different. For those of you who don't know what phase is: if something in your mix unintentionally sounds weak or distant, things that are panned down the middle sound as if they're off to the sides, or the mix sounds like it's underwater or has a flanger on it... that's phase. In purely technical speak: It sucks, fix it.

3. Avoid excessive EQ when mixing . For the mastering engineer, it is far easier and more preferable to add EQ to a duller-sounding mix than to subtract. And as a side note: resist the urge to compare your mixes to mastered CD's... those mixes (insert your favorite artist here) probably didn't sound that way before the mastering engineer worked his/her magic.

4. Don't over-compress your mix! We know in this day and age of unlimited plug-in compressors that this is asking a lot... but if you over-compress, there is no way for the mastering engineer to recover lost dynamics. Remember, compression can actually make things sound smaller and add distortion... If your mixer wants to use compression/limiting on the final mix down (so it stands up next to his favorite Josh Abraham album), make sure you get two copies of the mix: one with and without the extra sonic sludge and a side order of small and fatiguing (hardy har).

5. Your final mix output should PEAK at -3 dbfs (digital scale). Let us emphasize: PEAK, not average level... If your average level is hovering around -3 dbfs, you've probably got a limiter on the master fader (and you know how we feel about that.) If you've removed limiting and your levels are still red hot and/or clipping and youve tried reducing the volume of your master fader to no avail... it means you're clipping the input of your master (the sum-total volume of your track faders is more than 0 dbfs). The solution is to globally pull the levels of your track faders down until your master isn't clipping anymore. Be warned, once you do this your mix may sound radically different so it's worth trouble-shooting before you get too attached to the sound. Alas, if your levels aren't perfect, we've seen it all and can most likely work with it. Most likely.

6. Build-in safety mechanisms in case your listening/mixing environment is less than accurate. Two possibilities come to mind: provide alternate mixes featuring lead vocals up 1 db, down -1 db, etc and document them as such. Or mix stems (aka "seperation" mastering, which is nothing new by the way). Mix stems are usually 3 stereo tracks that contain groups of frequency-similar instruments. For exp: Stem 1 is drums, percussion and their respective reverbs. Stem 2 is vox, back ups, and their respective reverbs... Stem 3, gtrs, bass, keys, reverbs. The key to working like this and maintaining sync between the tracks is keeping the lengths, beginnings, and ends of your bounces the same. Either of these mix options enables the mastering engineer greater flexibility and is an especially good idea if you're uncertain of your own mixes. *Note, save yourself some time, money and disappointment, don't opt for stems if you really love your own stereo mix.

7. Please leave count-offs and fade outs in tact on your final mixes. If you accidentally cut off or fade a portion of your own music, there's no way for the mastering engineer to restore or repair your mix. Fades and edits can always be non-destructively rendered at the mastering stage.

8. Do your homework. Whether you plan on attending your mastering session or not, make sure all files are properly labeled, shipping/delivery instructions are agreed upon, and sequencing is complete before the session date. We love it when the file name includes the song title and track number, for exp "01cantbuymelove". Also include any comments/references/instructions/concerns you may have regarding specific mixes.

9. Delivery Specs: Always supply or bring a first generation bounce of your mixes in their original sample rate and bit depth (don't do any conversions). To maintain the highest fidelity throughout the production process, we recommend beginning your recording sessions using Wav. files at 24 bit... but will work with anything including AIFF, WAV, SD2, Apple Lossless, and Orange-Book CD Audio (just no MP3s). Files can be any word-length (16-24 bit), or sample rate (44.1-192khz) on CD/DVD, DAT, Mini-Disc, FTP, IM, email or hard drive. In other words, if it's digital, we're all good. Just let us know what you prefer... (In case any of you analog loyalists are cursing our name and wondering why: we've got to keep our prices low, so unfortunately tape is NOT supported at this time. Long live, you luddites!).

**Note: 32 bit floating point files are a proprietary file format exlusively compatible with Cubase, Nuendo, Logic, etc. They are not universally supported or recognized. You will need to dither to 24bit for the mastering stage (the loss is negligible going from 32 to 24 bits because some argue that software algorithms and hardware processors work against any real 32 bit advantages).

10. The "radio-ready" myth... your music does not need to be the loudest thing out there to sound good on the radio... actually, the reverse is true. Radio provides yet another layer of extreme compression/limiting (read: distortion) that makes everything the same relative loudness no matter the volume of the original source... In fact, quieter mixes actually maintain their sonic integrity and translate better, while still being just as loud as everything else in the broadcast. A more compelling argument for "loud" masters is the ability to throw your song on a mix CD/playlist and have it stand up next to the latest "hit." Whatever you decide, the customer is always right... if you want LOUD, you got it.

11. We now offer vinyl mastering. Please let us know ahead of time if your masters are intended for vinyl as it requires slightly different specifications for delivery. Hit us up if you have any questions about it.

12. Don't use CD manufacturers' in-house mastering services. Yeah, they're cheap... you're getting what you pay for, and they're making their money off of you by marking up their disc manufacturing costs. The reason they offer the service is to drive more customer traffic, not because they specialize in mastering. Imagine your mixes meet a factory assembly line. How many can they master in an hour?

13. Post-mastering: if you're manufacturing your mastered CD (known as replicating), make sure the pressing plant produces the glass master at single speed using Disc At Once mode. This will DEFINITELY improve the overall sound quality of your finished CD and ensure the intended spacing between the songs. Just a word to the wise...