FAQs
What is Mastering?
Mastering is the final step in the music making process, before your tracks head out into the world — whether that's streaming platforms, vinyl, CD, or anywhere else.
Think of it as the finishing touch that makes your music sound its best, everywhere.
Here's what it involves:
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Quality check — I’ll listen closely for anything that shouldn't be there: unwanted clicks, pops, clipping, or any technical errors that could affect the listening experience. If something could sound even better, I’ll flag it and work with you (or your mix engineer) to get it right before finalising.
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Audio processing — Using tools like EQ, mid-side processing, and limiting, I optimise your music so it translates well on any speaker, headphone, or sound system.
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Loudness balancing — We make sure your track hits the right loudness level for your genre and chosen format, without sacrificing quality.
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Format delivery — Need files for streaming, Apple Digital Masters, CD, vinyl, or cassette? I’ve got you covered with masters tailored to each format.
Why should I work with a Mastering Engineer?
Music production takes a lot of time and creative energy — mastering is where we take it over the finish line for you. Here's what you get when you work with a mastering engineer:
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Fresh ears — After spending hours (or weeks!) on a track, it's easy to lose perspective. A mastering engineer comes in at the final stage with fresh ears, pulling the best out of your music.
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Professional monitoring — I work with high-spec, mastering-grade equipment in an acoustically treated environment. That means I can hear things you might have missed — and fix them if needed.
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Format know-how — From streaming to vinyl, every format has its own requirements. I make sure your music sounds great across all of them, while staying true to your creative vision.
How do I go about working with you?
Simple! Have a browse through my website and if you think we'd be a good fit, get in touch via the contact form — either myself or my manager Brendon will get back to you. From there, we'll sort the booking details and find a date that works for you and your project.
Can I hear examples of your mastering work?
Absolutely! Head over to my discography page to check out some of my work.
How long will it take for my tracks to be mastered?
It depends on how many songs you have, but you can typically expect a first draft master the morning after your booked date. From there, revisions are made once you've fed back your thoughts — and once everything sounds exactly right, I'll send over your final formats. If you're working to a deadline, just let me know as early as possible!
Do I need to book in advance?
Yes! My schedule can fill up anywhere from 1 to 6 weeks ahead, so it's always worth checking my availability early. I'll always try my best to accommodate last-minute requests, but to avoid any stress, it's best to have a clear idea of when your mixes will be ready and go from there. It’s good practice to factor in a week's buffer for any mixing delays — before locking in a date.
I booked in for mastering, but my mixes aren't ready. Help!
Don't panic! Just let me know as soon as possible and we'll rearrange your booking. The more notice the better — it helps me manage my schedule — but please give at least 48 hours notice. Cancellations or postponements within 48 hours of your booking may be subject to a charge.
How do I send my files?
Please send all files — including any alternative versions (instrumentals, radio edits, acapellas, etc.) — by the end of the working day before your booking at the latest.
Drop the file link (Wetransfer, Dropbox or Samply all work great) on your booking email chain, and make sure I have any passwords or permissions needed to access them. This is also the best place to share feedback or revision notes once you've received your first draft.
A few technical things to keep in mind:
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Send pre-masters as 24 or 32bit WAV files at the original sample rate they were mixed at (e.g. 44.1kHz or 48kHz)
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Label all files clearly
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If you have a limited 'reference' copy, include it — but make sure the pre-master itself has no limiting and isn't clipping
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Any mix bus processing that has shaped the sound of the track can stay on
Make sure you're completely happy with your mixes (and have listened through in full) before sending them over, as there is a charge for submitting new mixes once the job has started. Similarly, if you need additional formats or alternative versions created at a later date, a recall fee may apply.
What booking information do you need?
To confirm your booking, I'll need the following — but don't worry if you don't have everything straight away, you can send it along with your files by the end of the working day before your booking.
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Number of tracks you'd like mastered
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Alternative versions — instrumentals, radio edits, acapellas, etc.
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Formats you need masters for:
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Digital
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CD (DDP)
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Vinyl (Sides)
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Cassette (Sides)
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Apple Digital Masters (ADMs)
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Name confirmation (exactly how you want them to appear on the release — capitalisation, spelling, etc.):
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Artist name
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Album/EP/single name
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Track names in your preferred running order
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ISRCs (if applicable)
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Vinyl A/B side split (if applicable)
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Reference tracks — anything you'd like me to use as a sonic reference
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Project funding — self-funded, indie label, or major label
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Invoice details — name, email, and address
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Any deadlines I should know about
What are revisions and how do I send them?
Once you've had a listen to your masters, just let me know if you'd like any tweaks — and be completely honest, you won't hurt my feelings! It's best to send all your feedback in one go rather than drip-feeding it through.
Revisions can be anything like: "I want it louder", "I'd like the vocals to be more present", or "Can the fade at the end of track 2 be longer?"
The sooner you send your feedback, the sooner I can get it sorted. And once you're happy with everything, just give me the green light and I'll create your final formats and send everything over.
Revision pricing:
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First round of revisions — free
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Further revisions — £25 per hour (min. 1 hour)
What are alternative mixes?
Alternative mixes are additional versions of a track, edited to suit different placements and use cases. The most common ones I get asked for are instrumentals, radio edits, acapellas, and clean edits.
Do I need to book alternative mixes at the same time as my main session?
While it's possible to have alternative mixes mastered at a later date, I'd recommend booking them in alongside your main session if you can. Having all your files delivered at the same time avoids any unnecessary recall time — and extra costs!
If you do need to send alternative mixes later, just bear in mind there's an additional recall fee on top of the standard alternative mix rate (£25 per hour, min. 1 hour).
What formats can I have made?
Digital Masters: You'll receive several versions optimised for streaming platforms (DSPs), including your original sample rate and bit depth in WAV, 44.1kHz 16bit WAV, 44.1kHz 24bit WAV, and MP3.
Apple Digital Masters (ADM): If you're uploading to iTunes, I'd recommend having Apple Digital Masters made. Formerly known as 'Mastered for iTunes', ADMs follow a specific protocol set by Apple Music to ensure the highest quality masters for their platform — and need to be carried out by a certified engineer. I'm Apple Digital Masters certified! (Worth noting: ADMs aren't required to get your music on Apple Music, standard masters are also accepted.)
DDP (Disc Description Protocol)" is the industry standard format for CD replication. As well as the audio, it contains key technical information to ensure tracks are copied without errors. The metadata will be embedded so artist name, album name, track names, ISRCs, song lengths are all correctly translated to CD.
Vinyl Sides: Planning a vinyl release? I'll need to know where you'd like your A/B side split. Once your masters are approved and sequencing is confirmed, I'll create your vinyl sides — two WAV files (Side A and Side B) for the cutting engineer to work from. If you have any preferences on spacing or fades between tracks, send over an MP3 mockup and I'll use that as a reference. The ideal source for vinyl is 24bit and dynamic with no limiting. When you receive your vinyl formats, listen all the way through both sides carefully and check that all fades, pauses, and running order are exactly right.
Cassette Sides: Cassettes are back! The process is similar to vinyl — I'll need your A/B side split, and once masters are approved and sequencing confirmed, I'll create your cassette sides. The ideal source for cassette is 16bit, and you'll receive two WAV files (Side A and Side B) for the duplicator to use. As with vinyl, send over an MP3 mockup if you have any specific preferences on spacing or fades.
What is metadata?
Metadata is all the information attached to your track — think artist name, track name, album name, label, ISRC codes, and so on. When you upload to streaming platforms (DSPs) like Spotify, Apple Music, Tidal, or Amazon Music, this information is used to track plays and make sure royalties are attributed to the right people. It's also what platforms use to suggest new artists and build playlists.
For physical formats like CD and vinyl, I'll embed metadata directly into the DDP or vinyl files — this includes all the above plus extra detail like track spacing, crossfades, and ISRCs. It's really important to double-check that all the information you provide is correct, as any edits will require a new format to be made.
One practical tip: When sending audio files to streaming platforms, zip them first (ZIP, RAR, TAR, etc.). If a zip file gets corrupted in transit, it simply won't open — so you'll know straight away if something's gone wrong before it causes any issues.
Can I have formats made at a later date?
Yes! Just bear in mind there's an additional recall fee on top of the standard format rate (£25 per hour, min. 1 hour) to cover the extra time involved.
I only need DDP formats, do I need to book digital masters too?
Yes — the digital master is always made first, and the DDP is created from this, so you'll need both. You can't have one without the other!
What are ISRCs (International Standard Recording Codes)?
ISRCs are unique codes assigned to each of your tracks — think of them as a fingerprint for your music. They allow your music to be tracked, and for collaborators to correctly collect royalties. For streaming, you'll input these at the distribution stage when uploading your tracks. For CD manufacturing, I'll need them to create your DDP file.
There are a few ways to get your ISRCs:
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PPL — free, and my top recommendation! You have full control over your codes and they follow a logical sequence, making them easy to keep track of. More info here.
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Your distributor — most charge a small fee, and the codes aren't always in a logical order, which can make them tricky to manage.
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DistroKid — if you're using DistroKid, they automatically generate an ISRC once you upload your track. Just let me know and I'll make a note on the booking.
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If you're still getting your head around ISRCs, this article from Music Gateway is a really helpful read.
If a track has been remastered, does it need a new ISRC?
Simple answer — if it's the same recording with a new master, the ISRC stays the same. If it's a new recording entirely, it'll need a new ISRC.
Do ISRCs need to be sequential on a release?
Nope! They don't need to be consecutive, so don't worry if yours are out of sequence.
What is sequencing?
Sequencing is the process of setting the spacing and fades between your tracks so the flow from song to song feels just right. If you have specific preferences on the gaps between tracks, send over an MP3 mockup and I'll use that as a reference. Otherwise, I'll use my intuition — but it's always a conversation, and we can fine-tune it during the revision stage.
Do you need a specific headroom to work with?
No specific dB level is required — the most important thing is that nothing is clipping and any limiter has been removed before sending. Generally, a few dB of headroom is ideal, but as long as there's no unwanted distortion, you're good to go!
Also make sure there are a few seconds of silence at the start and end of each track to avoid any samples being cut off or unwanted clicks and pops creeping in. Don't worry though — all of this can be trimmed and tidied up during the mastering stage.
What is the difference between stem and stereo mastering — and do you offer stem mastering?
Traditional stereo mastering works from a single stereo WAV file, while stem mastering uses a small number of grouped elements — vocals, drums, bass, keys, etc. — giving the engineer more control over individual parts of the mix. For example, if the vocals are too sibilant but the cymbals are perfect, stem mastering means that can be fixed without touching anything else. Think of it as bringing a mastering engineer in just one step earlier in the process!
It's worth noting that stem mastering isn't the same as mixing — the stems should already form a coherent mix when played together, it's just about having a little extra flexibility.
I don't currently offer stem mastering, but in most cases I can achieve what you're after with a stereo master. If you're set on stem mastering, I'd recommend reaching out to my friend Stephen Kerrison, as it's a service he offers.
Do you offer mix feedback?
I can do, but I don’t want to interfere with the creative choices made in the mix. If you'd like some guidance, send your mixes over as soon as they're complete and I'll listen through and flag any broader issues that might be harder to fix at the mastering stage. It won't be exhaustive, but it'll help you get the best possible result. The key is to make sure you're happy with your mixes before the process begins — submitting updated mixes after the first master has been made will extend the timeline and incur an additional digital master fee.
How can I pay for my masters?
Once your project is complete, I'll send over an invoice with all payment details — payment is due within 14 days.
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UK — bank transfer
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Europe — IBAN
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International — PayPal or Stripe (please note a small additional fee may apply to cover transfer costs)
If you haven't received your invoice or have any issues, just drop me an email and I'll get it sorted!
