FAQ'S




1. So what is it that you do?

As a mastering facility we do quite a lot while wearing several different hats. We are at the end of the creative/artistic chain and the beginning of the manufacturing process. When you come to see us we sit down and listen to what you have. We invite you to come in for a consultation before the actual session or send in your mixes for evaluation. This is a great opportunity for you to be able to get feedback on your mixes beforehand. Remember, mastering isn't re-mixing. In a world where more and more people are mixing their own material it’s often advantageous to get the benefit of hearing your mix in a high resolution room before you present it for mastering. Where applicable you can then tweak your tracks so that you get the optimum benefits of the mastering process. This can really save a lot of headaches as well as give the mastering engineer an opportunity to hear and get a feel for your music - we feel this is very important as well. Then we determine how we can make the music sound better, using EQ and/or dynamics processing to maximise the sonic potential of your recording. We can carry out editing if required, and will compile your program so that the sequence sounds just right, adjust fades, PQ encode the Master and add ISRC’s if required. A reference copy is made and upon your approval and signing off on it we will then cut a Production Master, error check and put it through quality control and hand it to you or send it for manufacture.



2. Why should I master?

Professional mastering helps ensure your music is making its best possible first impression to listeners, whilst allowing for any final anomalies to be corrected. It's the time for the final critical listening to be done and to ensure a consistency and cohesion on your release. You may have a real gem, but unless you cut and polish it, you are selling yourself short. You work really hard to get your mixes sounding right, so don't skimp where it counts. It's all about the vibe.



3. Do you mind us being present at the mastering session?

We encourage you to be present at the mastering session, unlike some mastering studios. This is the last step before your project goes out so we feel it's important that you be there for input. We also like to help educate and engage you in the process.



4. What are your rates?
At Deluxe Mastering we can discuss your budget needs and tailor a solution to suit your requirements. We generally prefer to give a fixed quote range rather than have an hourly rate for unsigned acts. Usually we can accurately do this provided there are no surprises or extra work required that originally wasn't intended, (eg: mastering from stems or lots of editing). Nothing stifles creativity more than stress. The last thing we want are clients who have an eye on their watch and wallet and not an ear on the speakers. We are passionate and customer service orientated. Remember the motto: THE BITTERNESS OF POOR QUALITY REMAINS LONG AFTER THE SWEETNESS OF LOW PRICES! For more information, or if you have any questions or would like to book a session, we'd love to hear from you via email, or give us call. Please also see our Payment Terms.



5. The studio I recorded at say they can master my recording, so why should I come to you?

Most recording studios that offer in-house mastering in the same room don't have the full range monitoring, adequate equipment and signal path and, most importantly, the experienced ears specializing in mastering. The mastering engineer is the fresh and objective set of ears who is also empathetic to what you are trying to achieve. They should be fully conversant in a wide range of musical genres. Mastering requires a different approach to mixing. We work on a stereo pair, not a 24, 32 or 48 track system, trying to dissect sounds. We don't use a finalizer or produce your CD haphazardly. Sure it may be convenient and cost effective, but why spoil it right at the end where it's vital to get it right? Remember, your final mastered product is what the world gets to hear.



6. Should I go digital or analogue?

There are pros and cons for each and neither one is necessarily better than the other. We are more inclined to use a predominantly analogue approach, especially with so many people working in the digital domain. Generally people describe analogue as being "warm" or "round", and digital as "clean" or "transparent". Most times a combination of the two works well. Upon listening to the source material we can then determine what would best suit your music. We have nothing but the highest quality in both analogue and digital processing, as well as an ultra clean and transparent signal path.



7. Can you make my CD sound like and as loud as my favourite CD release?

At Deluxe Mastering we like to think that we help create your own individual sound. It all comes down to your mix and we would rather see ourselves as trend setters rather than trend followers. Sure, by all means bring in your reference material and we will do our best. Be warned though, louder is not always better. You can compress the hell out of music and get it loud. This technique comes at a cost. The dynamics of the music will suffer and more often than not the program material won't be as musical. In addition to that, the listening experience becomes quite fatiguing. Sure, the attitude is there for the first 30 seconds, but it wears off quickly and becomes mundane. At the end of the day it's not how loud you make it, but how you make it loud. As far as the radio myth that compressed music always sounds better... think again. Radio adds so much compression, limiting and other processing that it’s scary! Think about this: the effects of compressing already compressed music is multiplicative. For example, if you have a program compressed at a 5:1 ratio, then add a further 10:1 ratio, the final outcome is a 50:1 compression ratio. There are also different variations between AM and FM, and between the actual stations and time slots themselves. They are in a constant state of flux, continuously tweaking their sound, so how can you predict what they are going to sound like from week to week? There is no "one size fits all" approach to radio. Beware those who claim to get your tunes "radio ready" – it’s a marketing ploy. Good audio is good audio no matter how you slice it. Music made pre-CD days sounds as good and is just as loud as their modern day counterparts on air, and if you listen to those recordings they are free from the hyper-compression epidemic we have today. We are not anti-compression. There are situations where a bit of the ol' ground and pound works magic. It always comes down to what works best for the music, not something to keep up with everyone or default to. Good mastering shows - anywhere! The main concern is how it will translate across a wide variety of playback systems.






8. Should I normalise or compress my music prior to mastering?

DEFINITELY NOT. Normalising functions in computer programs actually degenerate the quality of the audio signal. If you feel you need to run a compressor on the mix buss, do a version with it but also do another mix without it. Listen to it switched in and out, but at equal levels. It’s possible you may slam it too hard, or the attack or release may not be quite right. It is very difficult to repair that kind of damage to your audio files. Have you ever tried to repair a fractured pain of glass? By having versions of your mixes unprocessed, we can avoid such problems. There's no harm in sending 2 versions.



9. What format should I bring my material on?

24 bit .wavs on data CD, data DVD or hard drive (USB or Firewire) will be fine, or electronically via YouSendIt, with files named accordingly (eg, 01_title_mix version). It’s generally best to leave the sample rate at your existing recording/mix sample rate (eg: 44.1, 48, 88.2 or 96kHz) and ensure there’s no 16 bit dither on your 24 bit master buss. Additionally, with 24 bit resolution there is no need to have your peak levels at maximum (0dB full scale). Mixing to a few dB below maximum (not simply reducing a maximised mix by a few dB) is fine, and can actually sound better in the end! We also accept audio CD, in which case it’s helpful if your material is in the order you would like it to be on the finished product. Any extra takes or mixes (vocal up/solo up, etc) could come in handy, as we can edit sections if you feel the original mix has some shortfalls. We also cater for 1/4" and 1/2" analogue mixes and Pro-Tools sessions.



10. How long does it take to master an album?

At Deluxe Mastering we work until the job gets done to your satisfaction. We don't rush or work by the clock. We want your mastering experience to be relaxed, fun and productive.



11. Do you master differently for vinyl?

In a word: yes. In many words: check out our vinyl section.



12. Can you master from stems?

Yes we can and do. By bringing in, say, vocals as separate file to your instrumental, or other parts you feel may need special attention, we can do what would be otherwise tried in an M/S scenario, but with better results. Mind you, the session becomes more of a pseudo mix session and it is more costly. In fact these sorts of sessions can cost 3 times as much. It's not something typically recommended, but if you have the time and budget, then feel free to bring in your hard drive and let's have fun.