Frequently asked questions
What are the steps if I want my music mastered?
I send you a pre-mastering checklist so that we are totally clear about your requirements. The checklist is essential to capture information about your project and to cut down on email/phone communications. Only when I have received the checklist back from you I will then be able to start working with you. Of course the checklist is only the first step, I will be communicating with you throughout the work, to ensure that our expectations are aligned!
Are your prices fixed?
I offer a very personal service to my clients. This means I need to get to know your project, your needs, your aspirations and finally your budget, before I am able to quote you. I will however give you an introductory offer, as I hope to have you coming back to me in future and be one of my "regular clients". I don't believe in fast volume business when it's about music as an art form, as there is no space for the personal, human touch artists crave!
I offer special rates to unsigned acts/artists, students and independent labels. I want to support new music and smaller businesses.
What is your revision policy?
Depending on the package you choose you will have a minimum of 1 revision of the work. It is important to understand what a "revision" means:
A revision is tweaking of a master that has been supplied back to you
A revision is based on the same stereo mixdown file you supplied as your final mix which is not going to change
A revision often means finding a compromise between the artist's vision for the track vs. the expertise of the mastering engineer
Working with a different stereo mixdown file, supplied after the mastering work has been performed based on your file submission, constitutes a new "mastering job". This will be charged as a complete new mastering job.
What audio format do you need?
Professional audio mastering requires the best audio quality from your final mix. I require, as a minimum, a WAV file at 44.1kHz 24-bit audio resolution.
Please make sure you supply your final mix according to the strict guidelines below:
1) Without any dithering applied. This is because I will apply dithering to your master(s) when I bounce your file(s) as the last stage of audio production when applying dithering is a required step (i.e. reducing the bit depth from 24-bit to 16-bit).
2) A mastering-ready mix should have a peak level of approximately −6 dBFS, meaning the loudest point in the file should not exceed −6 dB. This headroom gives the mastering engineer the space needed to apply EQ, compression, and limiting without introducing distortion or clipping.
3) Please leave enough space at the beginning of each track and at the end. This allows me to get any fades done properly, or cross-fades from one track to another.
4) Please remove any limiter on your Master Bus before you bounce the track(s) out.
Limiters and compressors must be removed from the master bus before exporting your mix for mastering. A heavily limited file has no dynamic headroom left, which prevents mastering engineers from making meaningful improvements.
If you have already attempted to master the track yourself, that is fine - send your version as a reference file alongside a clean, unprocessed export. I will master from the clean version and use yours as a reference for loudness and tone.
***Essential release information to help you plan efficiently and prevent avoidable delays.***
What are ISRC codes and do I need them for mastering?
An ISRC code (International Standard Recording Code) is a 12-character alphanumeric identifier assigned to a specific audio recording. ISRCs are used by streaming platforms, radio broadcasters, and performing rights organizations to track streams, radio plays, and royalty payments.
ISRC codes are not the same as UPC/EAN codes. An ISRC identifies an individual recording; a UPC/EAN identifies a release (album, single, or EP) as a product.
Do I need ISRCs before mastering?
For most independent artists releasing on streaming platforms, no. Your digital distributor (DistroKid, TuneCore, CD Baby, and similar) will automatically generate ISRC codes when you set up your release. Mastering engineers do not need your ISRC codes upfront.
Exception: If you need MP3 files for radio promotion ahead of your official release date, provide your ISRC codes to your mastering engineer so the correct metadata can be embedded. This ensures your tracks are properly identified and you do not miss out on airtime royalties.
How do I get ISRC codes?
Independent artists: Use your digital distributor (DistroKid, TuneCore, CD Baby). ISRCs are generated automatically.
Record labels or large catalogues: Apply through your country's national ISRC agency for a Registrant Code.
One-off codes: Use a specialist provider such as ISRC.com.
A full directory of national ISRC agencies is available at isrc.ifpi.org.
What are Apple Digital Masters and do I need them?
Apple Digital Masters (formerly Mastered for iTunes or MFiT) is Apple’s optional certification program for high-quality audio files distributed via Apple Music and iTunes. Tracks prepared to Apple’s specification are encoded using a high-quality AAC conversion process designed to preserve audio fidelity at lower bit rates.
Apple Digital Masters are not mandatory. Standard masters are accepted for distribution on Apple Music. If you want to release in this format, check first that your distributor supports Apple Digital Masters submissions before requesting it. Wave Mastering LTD is accredited For Apple Digital Masters (ADM).
What is a UPC or EAN code?
A UPC (Universal Product Code) or EAN (European Article Number) is a unique barcode that identifies a music release as a distinct commercial product in retail and digital distribution systems. It allows stores, distributors, and streaming platforms to track sales, inventory, and reporting for your album, single, or EP.
Unlike an ISRC, which identifies an individual recording, a UPC/EAN identifies the release as a whole. Digital distributors typically assign a UPC/EAN automatically when you submit a release. Some will provide this free of charge; others may charge a small one-time fee.
What is a DDP file and do I need one?
A DDP (Disc Description Protocol) file is the industry-standard delivery format for CD manufacturing. It is a self-contained package that includes everything a pressing plant needs to produce a CD:
The audio masters in the correct sequence
CD-Text (artist name, album title, track titles)
ISRC codes for each track
UPC/EAN barcode data
If you plan to manufacture CDs, confirm with your pressing plant whether they accept DDP submissions or prefer individual WAV/AIFF files with a separate metadata sheet. Many modern CD manufacturers accept both. Either way, you will still need to provide CD-Text, ISRC codes, and a UPC/EAN before production can begin. Some will provide a barcode included in the service, others will make you pay a small fee.
Do I need ISRC codes for vinyl manufacturing?
Yes. ISRC codes are required for each individual track on a vinyl record. These codes are embedded in the vinyl’s metadata during the cutting and production process, allowing performing rights organisations and digital reporting systems to correctly track plays, broadcasts, and royalties.
Although vinyl is an analogue format, ISRCs are still required for proper rights management and commercial distribution. Have your ISRC codes ready before submitting your masters to the pressing plant.
What if I have other questions?
Feel free to make contact!
What File Format do you accept for mastering?
Please supply WAV and AIFF files only. These are lossless formats that preserve the full dynamic range and frequency detail required for professional mastering tools to work accurately.
Format: WAV or AIFF
Sample rate: Minimum 44.1 kHz (48 kHz, 88.2 kHz, or 96 kHz also accepted)
Bit depth: Minimum 24-bit
Can you make my music sound louder?
Yes, that is the idea of mastering: to finalise your music to be comparable in loudness to other artists. However, whilst I fully comply with newer and stricter audio mastering guidelines, I do not believe in competing in the "loudness wars" of a couple of decades ago. Those "wars" are now seen as detrimental to music quality and resulted with many leading artists re-mastering their releases because they felt their music lacked dynamics and was way too compressed so that it could be pushed to be incredibly loud! After a lot of debates following complaints by leading artists, the music industry is now backing away from "loudest is best" and many streaming sites will reduce your track(s) volume to comply with their general guidelines. The future for artists and music producers is finally looking brighter!
For more information on the "loudness war" please look here.
How do you ensure streaming sites do not impact my music?
I master your track(s) to be slightly louder than the expected level. This means that once they are sent to the streaming outlets, they may reduce it in volume, which is fine, as that process does not impact your product. On the other hand, supplying a master at a loudness level that is way below their expectations, may result in them bumping up the gain of your music and that is where your music may end up sounding compromised!