MASTERING RESOURCES
How to prepare your mix for mastering.
The objective is simple: deliver the mix you actually approved, at its native quality, with enough information to avoid guesswork.
1. Export the right file
Export an interleaved stereo WAV or AIFF file at the mix session’s native sample rate. Do not downsample, upsample or convert through MP3. Use the highest practical bit depth available from the session; 24-bit is acceptable and floating-point files are welcome when supported by your workflow.
2. Prevent clipping without chasing a headroom number
The mix should not clip. Beyond that, there is no magic requirement to peak at -6 dBFS or any other fixed number. Artificially lowering the master fader simply to satisfy a folklore target does not improve the audio. Preserve the gain structure and sound you approved.
3. Keep processing that defines the mix
Compression, EQ, saturation or other mix-bus processing may be central to the record’s sound. Leave it in when removing it changes the mix. If a peak limiter is present only to create a louder listening reference, also export an unlimited version. When uncertain, send both versions and identify which one reflects your intended presentation.
4. Check the exported files
Listen to every exported mix from beginning to end outside the DAW. Confirm that there are no truncated tails, missing automation moves, clicks, pops, muted elements, wrong versions or accidental sample-rate conversions. Mastering can reveal small problems that were easy to miss during mixing.
5. Name files clearly
Use a consistent filename containing the track number, song title and version. Avoid names such as “final,” “final2” and “final-really-final.” If multiple versions are supplied, label them unambiguously—for example, limited reference, unlimited mix, instrumental or clean version.
6. Include the release information
Provide the final track order, exact artist and song-title spelling, intended release formats, target date, ISRC information when applicable and any notes about fades, spacing or transitions. Include reference tracks or comments about tonal balance and dynamics when they communicate something important about the artistic goal.
7. Discuss unusual deliverables first
Stem mastering, 5.1 surround, vinyl side assemblies, continuous programs, broadcast versions and extensive alternate masters should be discussed before export. Agreeing on channel layout, naming and deliverables first prevents unnecessary rendering and file transfers.