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Stem Mastering is the process of level balancing and editing multiple consolidated groups of instruments during the mastering process. It allows the engineer to get much deeper into a mix and has the possibility to allow for more control over the final master.
In addition to our standard mastering service, we also offer stem mastering for clients who want our mastering engineer to have the most control during the mastering process. For the majority of projects, standard stereo mastering will provide excellent results, however for artists who prefer to give our engineers the most possible control over their mix we also offer stem mastering. Mastering from stems allows us to dive deeper into the mix and more finely adjust frequencies and levels. It also allows us more control to correct problems in the mix that might otherwise be impossible with a single stereo file.
When mastering from stems you will submit multiple stereo tracks that have consolidated instruments. For example, an artist might submit 4 stereo WAV files ( One containing all lead synths/guitars, one with lead vocals, one with drums, and one with background vocals, etc). Our engineers would then work with each stem to set frequencies, adjust levels, and correct any imperfections. When they finish, the stems are combined and the final song is then mastered. Since we have access to separated groups of instruments there are more options for the engineer to make finer adjustments and correct issues.
Audio Mastering is the art of giving your recording a cohesive & professional sound. It should sound its best in a variety of different listening situations; such as on a home stereo, the radio or internet, in the car or through headphones. Naturally, it should be able to stand up in comparison with other productions.
The resulting final files must be technically perfect and free of artifacts or clippings. Aesthetic considerations aside, the main purpose of audio mastering is to ensure the most optimal sounding production possible.
When preparing your mix for mastering you’ll want to do a few things.
First, you want to make sure that each track and the master bus peak levels are between -3db and -6db. This ensures that there are no clipping peaks nor clipping inter-sample peaks. The volume should sound low, we’ll raise it during the mastering process.
Secondly, you’ll want to remove any processing such as limiters or compressors from the master bus unless they are there for “your sound” signature.
Third, you will want to make sure that you submit a high-resolution WAV or AIFF file.
You can read more about preparing your mix for mastering.
No but yes if there’s no other option. We can master from an MP3, however we highly recommend using WAV or AIFF files as the resolution is much better.
If you only have access to MP3 versions we can still achieve passable results, but you will get a better final master using high quality files.
MP3 audio is known as lossey audio because audio information is selectively cut out from the original recording in order to provide a smaller file size.
Our standard turnaround time is based on studio workload, but generally you can expect to have your songs back within 1-5 business days depending on how many songs needing to be grouped together.
DDP: Disc Description Protocol, also referred to as DDPi (DDP Image) or DDP File Set. An error-protected delivery format that has become industry standard for reliable CD & DVD replication.
Advantages of DDP include:
Integrity Of The Recordings. DDP files are not subject to manipulation and end up exactly as the artist intended. An audio CDR, for example, can influence the sound of a recording when used as a master due to errors and other effects of different dyes used in the disc itself.
Delivery Speed. DDP can be transferred using any medium including over the internet which speeds up the production process. Many organisations now only accept DDP, as they are faster and more reliable to work with.
Replication Errors. Using a DDP Image with MD5 Checksum will ensure accurate replication unlike an audio CDR.
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Unlike audio CDs, DDPs can be checked to ensure that the data is 100% accurate. For this we insert a code known as an ‘MD5 Checksum’. The MD5 is created at source and is based on an analysis of the DDP Image data. When the code or is opened by the end user the data is analysed once again and a comparison is made to the existing code. Any difference whatsoever will result in a rejected DDP master. Audio CDRs do not provide this level of assurance from errors. Many CD players will also execute error-correction on playback of your audio CDR and may mask any issues with your disc. These errors may therefore not be identifiable until you hear them on your final disc run!
A DDP Image is recommended for all customers who are replicating CDs of their project.
Untreated rooms have uneven frequency responses, which means that any mixing decisions you make are being based on a sound that is ‘coloured’ because you can’t accurately hear what’s being played. In short, you can’t possibly tell how your mix will sound when played back anywhere else.
It isn’t just an issue for mixing, though, because any recordings you make of acoustic instruments will bear all the hallmarks of the space in which you record them. That may be a good thing if the space in question is Ocean Way or SARM West, but probably preposterously bad if it’s your living room or bedroom.
If you want your mixes to transfer well, and your recordings to be free of room ‘honk’, you need to pay attention to the acoustic properties of your environment – no matter how good the gear you’re using.
This is a crucial step for a number of reasons. The goal of mastering is to enhance the overall sonic clarity of a song as well as make sure that individual songs are level balanced to maintain a consistent sound and volume level. In addition, correct mastering will ensure that your songs are set to the correct frequencies and levels for digital distribution and radio play. In the simplest terms, cd mastering is what makes a group of songs sound like a commercially released record. For clients who do not need a full album or EP mastered we also offer our standard per song online mastering service.
Using specially designed equipment, software, and speakers to assess and correct issues within each song. During the mastering process, there are many adjustments that are made depending on the musical genre, instruments, and mixed levels. Some of the functions the mastering engineer will provide include:
Neptune Mastering Clients are invited to use WeTransfer to upload their projects; which are secure since they auto delete within a week.
Though, any files storage service you wish to use is fine by us.
In addition, we use our Google Drive Account to share the finished masters with you. Ensuring that you can always have access to your files when you need them.
In addition to our standard mastering service, we also offer stem mastering for clients who want our mastering engineer to have more control during the mastering process. For the majority of projects, standard stereo mastering will provide excellent results, however for artists who prefer to give our engineers the most possible control over their mix we also offer stem mastering.
Mastering from stems allows us to dive deeper into the mix and more finely adjust frequencies and levels. It also allows us more control to correct problems in the mix that might otherwise be impossible with a single stereo file.
When mastering from stems you will submit multiple stereo tracks that have consolidated instruments. For example, an artist might submit 4 stereo WAV files (One containing all lead synths/guitars, one with lead vocals, one with drums, and one with background vocals, etc). Our engineers would then work with each stem to set frequencies, adjust levels, and correct any imperfections. When they finish, the stems are combined and the final song is then mastered.
Since we have access to separated groups of instruments there are more options for the engineer to make finer adjustments and correct issues.
Preparing a mix for stem mastering involves grouping your instruments into individual stems. We accept up to 8 stems per song, and as a general rule, you want to group similar instruments together. An example set of stems would be: Percussion, lead vocals, backup vocals, rhythm guitars, lead guitar, kick and bass.
The stems you submit can be separated in any way that will give our engineer the best options to work with for your project. As with all mastering projects you should leave -6db of headroom and remove any master bus processing from each stem.
Stems should all be the exact same length and start and stop at the same time (this is crucial so the tracks line up when they are mixed together).
Our mixdown service brings you to stem mixing at an affordable price. We will ensure that your track is mixed down from your supplied stems to the professional standard and sound that you need. Audio mixing will ensure your music is mixed by a professional engineer who will bring a fresh pair of ears to your project and use the best technology to ensure a final mixdown that will give your track a professional edge that’s ready for mastering.
If you are struggling to get that polished professional sound on your mixdown then this service is for you!
Tracks are generally returned to the customer as stereo 16bit 44.1kHz WAV files with -6db of headroom ready for mastering. If you would like your track supplied with more or less headroom than -6db please feel free to add this as a note to your order.
Audio mixing is the process of taking recorded tracks and blending them together. Tracks are blended using various processes such as EQ, Compression and Reverb.
The goal of mixing is to bring out the best in your multi-track recording by adjusting levels, panning, and time-based audio effects (chorus, reverb, delay, etc). The aim is to sculpt your arrangement to make sense of all your tracks in relation to each other.
A multitrack recording is anything with more than one individual track (also referred to as stems). There’s no right or the wrong number of tracks. The final output of a multitrack recording is also known as the mixdown. The mixdown is the final step before mastering.
Lacquer cutting is the process of transforming an audio recording into physically cut grooves on the surface of a lacquer disc via a machine called a lathe. This cut lacquer is used as the master in the electroplating process to create stampers which are then used to press your record. The lacquers are send directly to your pressing plant.
When ordering lacquer cutting you can choose to have us master your music or provide your own mastered files.
We highly recommend having us master your music for cutting your Lacquer Discs.
We have all the experience and settings on hand to make sure your music will be perfectly matched to the NEUMANN VMS70 Cutting Lathe used.
When using Neptune Mastering, we can be sure that the end results will provide you the best possible results in making your audio better.
If you choose to provide your own masters for Lacquer Cutting, here are some tips for a great sounding record:
There are a number of audio mastering tips that will help you prepare your mixes before working with a mastering studio. It’s important to know how to prepare and submit your mixes so you can get the best sound for your songs. The mastering engineer wants to start with a clean slate, primarily on the master bus and will need to have the proper file type and format to get the most from your music.
As you go through your mix eliminate any noise or pops that may be in each track. Use fades as necessary to cut out any spots that may just be containing recorded noise. If this is done in the mix stage within each track it will keep the overall noise level down when the mastering engineer begins to equalize and compresses the mix.
Overusing processors especially dynamic processors (compressors) on the master bus can destroy a mix and make it difficult, if not impossible for the mastering engineer to make a great master. Unless there’s a specific sound of a master bus processor desired for the mix, it’s best to keep the master buss free of outboard processing or plugins. If master bus processing is used make sure to notify the mastering engineer of its type and settings.
The loudest part in a mix should peak at no more than -6db on the master bus. Also know that dynamic range is not the same as peak levels on your mix. Dynamic range, in simple terms, is the difference between the loudest part of your song and the quietest.
Try to aim for about -14 to -10LUFS or less in your pre-master. Use a Dynamic Range Meter to see your results (Youlean Loudness Meter). A standard meter will not show you the results you need to know.
There should never be a limiter set on the master bus. Final dynamic control and level should be left to the mastering engineer. This allows the engineer to create the proper dynamic level for radio play, CD, or mp3 duplication.
Only one song per order, please. Full versions and edited versions are considered as two songs, no matter how similar they might be. Equal amounts of work still need to be done for each song in mixing and/or mastering.
Some terminology to know:
Lossy file formats should never be used when submitting an audio file for mastering.
The two most popular file types for mastering are WAV and AIFF. Both of these file types are lossless (non-compressed/converted), and either file type is excellent for a mastering engineer to work with. AIFF files are normally used on Mac systems while WAV files are traditionally PC. Make sure your mastering studio is able to work with the format you have.
Additional to using WAV or AIFF file types. When submitting a mix for mastering. The file should be kept in the same resolution as it was mixed in (no down conversions).
For example a song mixed at 24bit 96kHz should be submitted as a 24bit 96kHz file (WAV or AIFF).
Submitting any previously done mixes or masters of the songs to be worked on, along with a few different reference songs that have a similar sound desired is excellent for giving the mastering engineer an idea of your musical vision. This could be a reference to bands/releases that inspire you, or who have a similar sound you like.
Mastering from stems is becoming a more common practice. This is where the mix is consolidated into a number of stereo stems (subgroups) to be submitted individually. We accept up to 8 stems per song. For example, you might have different tracks for Kick Drum, Drums, Bass, Keys, Synths, Effects, and Vocals. This gives the mastering engineer excellent control over the mix and master, allowing for the absolute best sound possible. However, it’s a substantially more involved process. If a mix from stems is desired, following the same steps listed above is best for each stem.
Note: When submitting stems, each file must start at the same time in the song even if each of the stems’ audio regions starts at different times.
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