Preparing your final mix for professional mastering is a critical final step in the production chain. A correctly formatted submission ensures that your mastering engineer, such as the team at Des Grey Mastering, has the necessary dynamic range and bit depth to achieve a polished, cohesive, and competitive sound without introducing technical artifacts.
Here is the essential technical checklist for preparing your mix files for submission.
Optimal File Resolution & Format
Bit Depth: We recommend submitting your final mix as a 32-bit floating point file. This provides the highest possible dynamic resolution. If 32-bit is not available, a minimum of 24-bit (TDIF or triangular dithered) is required to maintain audio fidelity.
Sample Rate: Maintain the native sample rate of your session. Do not upsample (e.g., converting 44.1kHz to 96kHz) as it provides no sonic benefit and can introduce artifacts. Submit the mix at the same sample rate you recorded and mixed in.
Headroom, Dynamic Range, & Master Bus Processing
A clean submission allows the use of high-end analog hardware like the Manley Massive Passive or Crane Song Ibis without fighting digital clipping.
Headroom: Avoid the urge to pre-master your tracks. Please submit mix files that are not excessively loud due to digital enhancements. If you have applied a limiter or maximizer solely to increase loudness, please remove these effects especially if they are not adding any tone and vibe. If you have spent a good few years in the mixing chair we welcome mixes that have been limited and that are as close to the finished sound as possible 😉
Creative Processing: Thoughtful master bus processing that is crucial to the vibe or sound of the mix (such as compression or saturation) is always welcome.
Avoid Clipping: Ensure your mix does not clip the master fader. Just make the mix sound great, leaving natural headroom for the mastering stage. No need to reduce the level.
Exporting Fades & Critical Plug-ins
Active Plug-ins: Please export the mix with all important sound processors active. If a plugin is essential to the tone or effect, it should remain.
Fades: Do not fade out the file yourself. Leave the tails and fades to the mastering engineer to ensure a clean, artifact-free transition.
Requirements for Vinyl Mastering Submissions
If you are preparing a master for a physical vinyl release, specific mechanical data is required to ensure a successful lacquer cut.
Catalog Number: Please include the assigned catalog number for the release.
Pressing Plant: Provide the contact details for the pressing plant that will be handling the manufacturing.
Best Practices for Stem Mastering Submission
Stem mastering allows for greater control over specific elements (e.g., separating the vocal, bass, and drums) than traditional stereo mastering. To ensure accuracy:
Processing: Export each stem with all processing included, including any master bus effects that were mixed through.
Length: All stem files should be exactly the same length, starting from the same timestamp, to ensure they align perfectly in the mastering session.
Labeling: Ensure all files are labeled appropriately (e.g., Kick_Stem.wav, Vocal_Stem.wav).
- Once exported please pull the stems back into a session and make sure you are hearing the track as expected.
Technical Summary Index
Target Bit Depth: 32-bit float (24-bit min)
Target Sample Rate: Native
Headroom Target: Not Clipped
Master Bus Limiter: Disabled (if used only for volume)
Final Fade Out: By Engineer
Stem Alignment: Consolidated Start Times
By following this checklist, you guarantee the technical integrity of your source material, allowing the mastering engineer to focus purely on enhancing the tone, feel, and global competitiveness of your music. Submit your prepared tracks for professional mastering at desgreymastering.co.za.
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