CHAPTER 4
Accepting Mixes, Workflow, and Client Interfacing
You’ve prepared the mixes for mastering, and a mastering studio has been carefully chosen. Now it’s time for the mastering studio to accept the mixes and get started. This chapter describes a few things to consider as the mastering begins. It also covers a few related topics that can be important throughout the mastering process.
Receiving/Importing Digital Recordings (Bit Rate, Sample Rate, and Levels)
When recordings are prepared for mastering, you must take special care to maximize their quality. Clipping should be prevented, and degrading conversions should be avoided.
Recordings are often requested from the client at 24-bit resolution at their original sample rate. Sometimes 32-bit Waveform Audio File Format (WAV) files are requested. In essence, 32-bit recordings are the same as 24-bit files except they include overload protection, preventing virtually all clipping problems. Requesting digital mixes at a peak level of –3 dBFS (decibels relative to full scale) or less allows the mixing engineer plenty of margin to ensure that clipping is not present. This is done without any perceptible sacrifice of quality when using the 24-bit format. Also, at 16 bits, a –3dBFS ceiling raises the noise floor more significantly than at the 24-bit rate, but it is not likely to cause any perceptible difference.
Data Integrity: CRC and Checksums
Although uncommon, errors can be introduced when copying and transferring digital files. To detect these errors, cyclic redundancy check (CRC) or checksum file verification can be used. Such verification is built into many operating systems, transfer algorithms, and file compression methods such as ZIP and RAR. There are many stand-alone CRC and checksum applications, such as the popular WinMD5 and Fastsum, which can provide assurance that file copies are exact. These programs generate a Message-Digest Algorithm 5 (MD5) code, and the code can be e-mailed. When the codes are received, they can be entered into a MD5 application that verifies the files to ensure that a perfect digital copy has been received. While this is an option, most professional mastering engineers do not perform this verification unless there appears to be a problem.
Requesting Information from the Client
As things are getting started, you need a few details about the client and the project. Information including artist name, address, contact and shipping information is requested. Also, you need the album title and other details to be placed in CD-Text. Often an order form is used to streamline the process. If MP3 files will be exported from the session, MP3 metadata will be requested, including cover art. CD-Text and MP3 metadata are discussed in greater detail in Chapter 12.
Receiving/Importing Analog Recordings
Often high-quality mixes will be delivered to the mastering studio on analog tape. This reel-to-reel tape size is typically ¼-, ½-, or 1-inch and rarely 2-inches. The mastering studio will need a calibrated and serviced tape machine for working with tape. Analog processing is usually performed as the analog source is recorded into the digital audio workstation (DAW), so only one digital conversion occurs. Sometimes the mastering studio is given both analog tape and a digital master, making it the studio’s option about which to use.
Attended versus Unattended Sessions
Some people believe that mastering is best with unattended sessions because it is impossible for clients to be familiar enough with the mastering studio’s monitoring system to make critical judgments. In an unfamiliar listening environment, clients could make a request that damages the ability of their mixes to translate to other systems. In contrast, attended sessions allow clients to understand more about the process, including the limitations. Attended sessions also can help to develop the relationship between the client and mastering engineer and make for easier communication.
Organizing Our Work
The organization of digital files is important for productivity. Naming conventions, folder/directory structures, desktop organization, backups, easy access to the original files, and file versioning systems are all very important. Mastering engineers should understand how their DAW works with digital files and take great care in keeping their work organized. Organization is especially important at the beginning and ending of a project.
Project notes and client details may be saved using dedicated software or inside the DAW. Magix Samplitude and Sequoia have an area where notes and client information can be saved along with the project. You also might use Google Docs, DropBox, or other online cloud services so that your information will be backed up automatically. DropBox is especially suited for this task because it allows for multiple past versions to be easily restored.
Saving/Copying/Pasting Processing Configurations
Organization doesn’t stop with the files themselves. When a certain processing chain works well, it may be convenient to make note of the settings, or if plug-ins are being used, the configuration may be saved. In this way, you can recall the settings if later adjustments are necessary. Sometimes you may find something that doesn’t work for the current project but may work well for a later project. Also, most DAWs have a feature where plug-in chains and settings can be saved into a preset. From there, adjustments can be made to suit each recording.
Importance of Timeliness
It is essential to give clients updates and information in a timely way. In the music industry, often deadlines and heavy schedules are involved. If time frames are not under control, problems can arise. Also, self-imposed deadlines, such as a listening party, can cause unnecessary stress. If circumstances affect the time frame of a project, it should be relayed to the client immediately. Communication is key to the relationship.
Each Recording Is Processed Individually
Each song has its own characteristics and identity. Mastering engineers process each song individually. It is usually best to completely reset your processors before moving on to the next song. You work so that the songs of an album or extended play (EP) sound their best and as though they belong together. This doesn’t mean processing them the same way.
File Compression
When audio engineers hear the term compression, they think of dynamics processing. Compression also can mean digital file compression—a method of reducing the size of a digital file and, often, combining several files into one. The most common file-compression types are ZIP and RAR. To simplify file transfers, clients often compress the recordings of an album into a single file. This is also done to archive recordings for storage, minimizing necessary storage space. A few engineers believe that this process can have an effect on the quality of a recording, although it does not.
File-Transfer Options
Online file-transfer methods each have advantages and disadvantages. These services include FTP, WeTransfer, DropBox, YouSendIt, Proaudiobus, and Sendspace, among many others.
Focus on Customer Service
Educate, encourage, and empower. These are the main keys to customer service in mastering. Also, it can be the best decision to hold back opinions unless they are solicited by the client. Communication is usually best with an air of respect and positivity.
Time Frame for Revisions in Mastering
Making a revision (i.e., an edit or change) in mastering can take considerable time once the process is complete. This is so because entire tracks/albums must be processed, and the final output may need to be re-created. This also means that quality control must be performed again. Each of these takes time, which can quickly add up. This means that you should take precautions as you are getting started to avoid or reduce the possibilities of having to reprocess. You should be sure that you are working with the correct files and that you have complete information from your clients.