Question 1

What is mixing and mastering?

Accepted Answer

Mixing is an incredibly nuanced, multi-dimensional process in which two or more (usually more) audio sources are layered together, adjusted in an endless amount of possible ways, so that the full experience is cohesive and emotionally resonant, with each element occupying an ideal space in the stereo field, frequency spectrum, and volume matrix.   Each element relates to each other element, like in a building or sculpture, so everything needs to be in its place, and fulfilling its role, to keep the thing together. Mixing is a creative process, but also very technical.

Mastering is the very last process in the post-production phase before the audio is published or put onto physical formats (besides the final mastering that a vinyl cutting engineer will do). Mastering optimizes, refines, and sometimes vastly enhances or improves the audio. It not only dials in the most effective overall parameters for the entire recording, but it also focuses in on individual events if anything special is needed. Even the best-mixed records in the world are still mastered with great care, and the worst-mixed records are still improved with a great mastering job.

Mixing and mastering are both about achieving balance, consistency, clarity in different ways. But the audible characteristics are just one side of the job. The other side is getting your project up to par with the required industry standards for file format, bit rate, sample rate, embedded text, and other under-the-hood specs.

Question 2

How do I prepare my files? What kind of files do you require?

Accepted Answer

Let's just get this out of the way real quick.  DO NOT.  I REPEAT.  DO NOT SEND ME YOUR PRE-MASTERS (aka mixes) WITH A LIMITER ON YOUR MASTER CHANNEL.  Thank you.  Now onto the show, which includes an explanation of this.  For all projects, send the highest quality and resolution version of whatever you're working with. Preferably 24-bit WAV files. 32-bit is okay too, but they will be converted (safely) in the end. Try to avoid lossy formats. If another band member or your engineer has higher quality files, please seek them out before beginning your project with me.

Please make sure there is little to no processing on your master buss, especially heavy compression or any limiting whatsoever. If you know what you're doing (sorry, I don't mean for that to sound insulting), and want to send compressed pre-masters to maintain an ideal sound, please consider sending a raw version as well, and please consider not compressing more than 3-4db maximum at any point in the songs. I really like to implement some processing before the compression stage, and especially the limiting stage because true-peak limiting always comes last. Too much processing on the master buss will limit what I can do for you, and may greatly hinder my ability to give you the best master possible. There is no need to worry that I won't compress your production as much as you want it compressed. Just communicate, and you will not be stuck with something you don't love. Send a reference version if you'd like, so I have an idea of your dynamics style.

Please make sure your audio files have headroom and do not clip. Do not normalize them. At least 3db of headroom is preferred, but even 0.1db will do. Don't pay attention to what you read about needing to provide 6, 8, 10db of headroom. It really doesn't matter as long as things are not digitally clipping.   Make sure all of your file & folder submissions are labeled correctly with official titles or descriptive terms. I'm sorry to say that "mix_for_angel.wav" & "NEW_SONG_STEMS_FINAL_v4" are unhelpful. 😬 This is a common problem. I even state this on my invoices and proposals, and somehow most clients still miss it.

Any file sharing service is OK.  P.S. If you make harsh noise, or other forms of music in which the only version of your songs that exist are completely smashed, limited, etc., then I can still work with that. I understand that some of you are doing things like no-input mixing or using processes that clip the hell out of your mixer.

Question 3

What are your rates?

Accepted Answer

There are always plenty of variables with each project, so all projects are custom-quoted. Please contact me and tell me about your project in as much detail as you please, and I will get back to you with more information. I may have questions for you, but I will be prompt in giving you answers and laying out your options. I'm excited to work with you!

Question 4

How do you determine your rates?

Accepted Answer

For mastering, rates depend on the total length of your project, the number of songs, the intended publishing formats, and a few other aspects. The same rate is charged for all projects up to 30 minutes, but there are special discounted rates for singles. After 30 minutes, the rate incrementally increases with duration.

For mixing, rates depend on a combination of the number of multi-tracks in your songs, how many songs there are, how long they are, and if you have any special requests as far as vocal tuning, drum editing, audio repair, aditional production, deadline, etc.

For original musical productions or music videos, rates are typically according to the projected amount of work involved based on your requests and ideas. (Duh.)

For audio and/or video post-production projects, sometimes the rate is hourly, and at other times it is based on the length of your desired final product, depending on the nature of your production and the tasks at hand.

Question 5

Can I request revisions? How many will you honor?

Accepted Answer

I will honor without protest around 3 rounds of revisions. Every project is a little different, but this the general rule. By the time you get to 4 or 5 in almost any project, it's usually an indication of a deeper issue.   What is a round of revisions? If you aren't 100% happy with what I provide after listening to your project in multiple listening environments and comparing it to similar published material, you may compile and provide to me a single complete list of changes you'd like to hear. I will then respond with thoughts and advisories if necessary, or I will just get to work and send you a new version. Usually it's the latter, but occasionally a client will request something that will need feedback or forewarning.   My goal is always to make you absolutely thrilled with your production. It is incredibly rare that I run into revision challenges. However it does happen. Here are 4 scenarios in mixing and/or mastering in which a large amount of revision requests point to deeper issues.   1. There is an issue that is beyond my reach, such as problematically recorded multi-tracks, problematically mixed songs, or an unrealistic expectation as to what is possible. Mastering tends to reveal or clarify things about mixes, as mixing tends to reveal or clarify things about  recorded tracks. Seamlessness or jagged transitions, clicks and pops, amp hum, phrases out of time or key, noise floors from your hardware, baked-in over-compression or excessive limiting, or simply an unbalanced mix. I always do my best to find compromises in these situations, but it is always best to, starting from the very inception of your project, maintain awareness of the potential for these problems to arise.   2. You are not giving each version a thorough enough listen before sending your revision requests, to the point where your 2nd, 3rd, or 4th list of revisions could've been combined with the first. This is the most common occurence, and it can be avoided by listening intently on multiple systems aside from the ones you used to work on your project, and taking notes along the way.   3. You do not know what you want, and you are using the engineer to experiment with and bounce ideas off of by means of listening to their mix or master passes and feeling your way through your vision in the process. And/or you are changing your mind about the trajectory of the project during the post-production process. If your 3rd revision list on a complete master has points like "Actually we're going to re-record the bass tracks with a synth instead and send you new mixes" then you should be prepared to pay for an entirely new master.   4. You care about your project so much, and have spent so much time with it, that you have demo-itis. This is usually the case when with each revision request you are wanting the master to sound more like your raw mixes, or your demo.   Good communication before a project is initiated is the number one way to avoid what is known as revision hell. :)   And of course, any revision request based on a mistake on my part will not count against you, ever! I won't lie and say this has not happened in the past! But it is rare.

Question 6

Can I change my mix after you begin mastering? Can I change my multi-tracks after you begin mixing?

Accepted Answer

Please be confident in your project before sending it off for the next step.    I honor revision requests (see the frequently asked question about revisions), but sending me different audio than I have already quoted for and worked on does not count as a revision.  Sending in updated mixes or multi-tracks for a project after my work work has begun will mean an additional charge in most cases.  Engineers who do not charge extra for this build it into their rates. I want to keep my rate lower for you, so I only charge for these things when they happen since they are mostly rare.   If a new mix submission is significantly different, charging for and treating it as an entirely new project may be necessary. Even if you only changed one thing in your mix, like turning up the vocals, or turning down the cymbals, that can greatly impact how I have things set. Plus, I still need to download it, import it, copy over any automation, export it, check it, upload it, and send it off to you. It is not as simple as just "running it through the mastering chain" again. If I did that, and that only, I would not be doing a thorough job.   Please understand that a mastering engineer is not there to use as a resource to bounce your mixes off of, so that you can figure out where they need to be before they are mastered 'for good.'   If you need help preparing your mixes for mastering, I offer full mixing consultations over Zoom for an hourly rate.

Question 7

Do you offer free test masters?

Accepted Answer

Yes!   It's the best way to prove to you that I can provide high quality, powerful and captivating masters of YOUR music in particular. It's the only way I can really show you that I listen deeply, and take in every detail of your music, and then artistically, intuitively, skillfully dial in the correct settings to bring out what you put into it.   I don't think that listening to examples of my past work is the best way to show what I can do. If you are listening to masters of suffering mixes, you aren't hearing what I'm capable of with beautifully performed and prepared material. And if you are listening to masters of mixes or productions that were top-notch, you're hearing an instance in which the client has made my job much easier. So either way, you still don't really know what I can do!   But you know your music inside and out. Hearing what I can do with your passion-filled creation, regardless of the recording and production quality, is a more personal experience for you, because it communicates directly to you. It's awesome to be able to offer that experience for no charge!

Most of the time, I can't provide free test mixes. Even a 10 second test mix could take 4 or 5 hours to set up and produce, depending on the complexity of your production. But if you are working on something in which there are 5 multi-tracks or less, go ahead and drop me a line and I will see if I can help you.

Question 8

Can you give me free mixing advice?

Accepted Answer

If you are getting your album mastered with me, feel free to send me your works in progress and I can give you some mixing advice or feedback, if needed, to help you prepare your songs.   Even if you aren't a beginner producer, this step could make a world of difference in the final product. The better your mix, the better your master. You can be a phenomenal producer or musician and still have the ability to gloss over an issue with your mix. Especially if you have been working on it for a while, and especially if you've been monitoring it with a single pair of headphones or monitors.   If you want detailed and thorough advice, where I break down each of your songs and give you feedback on them, I may be able to do a paid consultation. Just let me know what you're needing and I will get back to you.

Question 9

Do you master for vinyl?

Accepted Answer

I do!

Mastering for vinyl is quite different from mastering for other formats. There are certain key factors involved, and masters for other formats will likely not properly translate to vinyl without introducing the risk of distortion, needle tracking problems, or other issues.   If your album is already mastered and released on one or more formats, but you'd like your album mastered for vinyl for the first time, it is always preferred that your original mixes are mastered for vinyl rather than having your current master adjusted for vinyl. If you don't have access to your mixes anymore, I can still optimize your masters to be vinyl-friendly, but it will not be a completely authentic mastering-for-vinyl job.   It is recommended to have the same mastering engineer do your vinyl and digital masters, if that engineer offers both services. One of the main aspects of mastering is cohesion & consistency, and having different engineers in different studios mastering your album for different formats can disrupt that.   *Vinyl masters are technically “vinyl pre-masters” (digital files). In the vinyl world, the “master” actually refers to the physical acetate disc used to press your records, which is usually handled by your pressing plant. I do not provide physical vinyl masters/acetate discs.

Question 10

Can you edit my podcast?

Accepted Answer

Absolutely! I regularly edit discussions, interviews, and other audio and video recordings meant for podcast distributors, YouTube, audiobooks, etc. I can also apply titles, transitions, and other basic elements to your footage if you have a video podcast. I'm also able to clean up your picture, as well as filter out various types of artifacts and noise.

Question 11

What is stem mastering? Can you do it?

Accepted Answer

Stem mastering is a little bit like mixing, but in a much simpler form, combined with the mastering process. Sometimes artists want to give the mastering engineer just a little bit more control over the music, rather than just having a left and right channel at their disposal. In stem mastering, often the engineer will be able to adjust the level or EQ curve of the drums, guitars, synths, vocals, or other generalized groups of elements, entirely separate from the rest.

I do offer stem mastering. Please get in touch for a quote.

Question 12

Who would win in a fight? AI mastering or a human engineer?

Accepted Answer

Here are things to remember about AI mastering vs a human engineer:   - Mastering is a creative, intuitive, and emotional art. AI mastering is incapable of understanding your vision, using creativity, tapping into intuition, and feeling/exploring emotion. AI mastering knows the Fletcher-Munson curve, can hear attack of your transients, can measure your stereo width...but it can't "know" what your project means to you, who your favorite artists are, who you were channeling when composing or mixing, what you were going for when you mixed your snare like that, or what you are truly setting out to do with your music.   - AI mastering comes up with a preset to run your mixes through. Some AI mastering processes actually measure certain sonic aspects of your music to construct the presets, but it is still a preset nonetheless. Because of this, there is no part-specific or song-specific automation being written in any intuitive way. There is no one who can tell that the intro is now not quiet enough because of the dynamics processing implemented, so it cannot adjust it. There is no one who will notice that the guitar part in the bridge is a little harsh, so it won't add a dynamic EQ to the 2KHz region for a brief time to try and control it. And speaking of such moves, there is no one to suggest that you to go back to your mix and adjust that, which is always a better idea than attempting to fix it in the master.   - Your final product may sound okay to you using AI mastering, but you won't know what you're missing without a human on the other end. You'd be surprised how much better of a result you may get when you can discuss things with a human. Why would you allow a robot be your last-stop quality control expert? Technically, you know infinitely more than an AI does about your music.   - You can't request revisions to parts of your master using AI. You can't bounce your idea for the revision off of them either. There is no human who is emotionally resonating with your record to give you feedback on that idea, or to send you a version of your song with the idea implemented, so you can choose between each version.   - You aren't helping yourself grow and learn about your productions or mixes because there is no engineer to discuss your work with you. I offer free mixing advice to all mastering clients. Some other mastering engineers do as well. This has positively impacted the end result on almost every occasion it occurs. Sending an AI mastering software a record with huge problems in the mixes will result in some funky moves to compensate, because AIs aren't trained to handle these kinds of cases. I've tested this, and many others have as well.   - You aren't sharing the wealth in the creative community. You need not feel obligated to do this, but it's always nice to.   - On occasion, an AI master may sound better to you than you got from a particular engineer. Every engineer is different, with different skill levels, years of experience, acoustic treatment, opinions, preferences, hearing damage, etc. An AI master may sound better to you because you like how it treated the high end, but your engineer may have made the drums smack better. You can't tell AI to make the drums sound like your engineer's master, nor can you tell it to go easier on the transients, but feel free to enhance the treble. Maybe you don't even know why you like the AI master better. But it works well the other way around- you can ask the engineer to make the high end sound more like the AI master. They will likely know just what to do.   - Just because you like the AI master over your master or your engineer's master, it doesn't mean you're getting a master that is void of problems that you may not be picking up on, such as inaudible low-end build-up, high end resonances your monitors may not be able to produce or that your room acoustics may be dampening, clicks and pops, phase problems, non-zero-crossings, hum, hiss, etc. You can't add or subtract space between songs. You can't add fades. The list goes on and on.   AI mastering is not really mastering. It is master buss processing. True mastering is much more than just that.   AI mastering is a wonderful choice in a sticky situation in which you have an insane deadline, little money, and just need your demo loud enough to pass around. I am not saying AI mastering is not good for anything. It just isn't a wise choice if you are proud of what you're doing, and want to release it into the wild.   If you ever just want my opinion on whether an AI master or another master sounds better, fill out my form and send me a link to both versions. I don't mind spending a few minutes giving you my opinion with no obligation on your end to compensate.

Question 13

How do I pay you?

Accepted Answer

I will send you an invoice via email reflecting the project you and I will have discussed. It will be a Paypal invoice, but you can use a credit or debit card if you do not want to use a Paypal account.

For most smaller projects I require 100% of payment up front. For larger projects or under special circumstances I will accept half up-front, which will get half the project done so you can hear what's happening, and then I will accept another half to get it to the finish line. You can break these payments up a little smaller for large projects if you need to, and I will complete the work accordingly.    To start any project you must make a payment and send me all the audio files. You can only receive the final product once the total has been fully paid. All deposits are non-refundable because a deposit starts the job. However, on the rare occasion a project needs to be terminated, partial refunds are determined on a case-by-case basis.

Question 14

Can you produce original music for me, or help me produce my own?"

Accepted Answer

I can!

I play guitar, bass, drums, keyboards and synthesizers, and I also experiment with altered and repurposed electronics of various kinds. I'm a music producer, and have produced, mixed, and often mastered lengthy, dense compositions in which I've performed or programmed every element.

I have experience in a multitude of genres and musical communities. I've produced pop, R&B, hip hop, industrial, new age, jazz fusion, vaporwave, emo/screamo, black and death metal, noise, grind, folk, drone and ambient, hardcore and post-hardcore, rock and post-rock, punk and post-punk, and even a few country numbers! My strength is in music that is off the path a bit... experimental, progressive, etc. I probably will not be available to fully produce for you a country or R&B number, as I prefer to stick to my biggest skillsets in, let's call it weirder music. I can however spruce up your country or R&B tune with various elements if you're needing some spice!

Please get in touch with your story, and I will give you the full spiel on how I can help you.

Question 15

Will my music be ready for publishing after mixing or mastering?

Accepted Answer

Your mixed music should, 100% of the time, be mastered in some capacity. Even if you are just producing a demo entirely on your own, with an intention of only showing your friends, a minimum number of mastering-related tasks should be performed for the sake of eliminating problems from the playback and monitoring experience.

Your mastered music will always be ready for release, but the overall sound quality does depend on the quality of the mixes.

Question 16

Can I use the same files for multiple media formats, therefore saving some cash?"

Accepted Answer

In many cases, the answer is no. But there are exceptions.

For instance, you can use digital masters as CD WAVs, but only if your mixes were provided as 16-bit, and only if your manufacturer doesn't require DDP files.   You can also use your digital masters for your cassettes, but ordering a cassette sequence of your album maintains the spacing between tracks (if any) exactly as you intend them, preventing any devices from adding space or crossfading. Plus, my cassette masters are alarmingly inexpensive, so it's really worth it.   If you have any specific question on this topic, send me a message. I would be glad to help you minimize your costs.

Question 17

How will you deliver the final product?

Accepted Answer

I will send you high quality files that pertain to your intended formats using a high-quality audio-centric file-sharing service. With most jobs, I work with WAV files.   If you'd like me to send USB Drives or data CDs in the mail, I can do that for a fee, but it'll really slow things down and I really do not recommend this. There's really no reason to do it that way.

Question 18

Can you produce DDP files, PMCDs, or MFiT masters?"

Accepted Answer

Yes, I can provide DDP files for your CD master.   I can provide PMCDs, but I highly, highly recommend digital transfer instead for a multitude of reasons. PMCDs can be problematic, and it is a labor intensive endeavor that, in my opinion, may as well be avoided by submitting files digitally. It's... not worth it.   Sorry, I am not cool enough to be certified for MFiT masters at this time. :)

Question 19

Do I need DDP files or just 16-bit WAVs for my CD master?

Accepted Answer

That question is for your intended manufacturer. Some services will accept CD WAVs, and others require DDP files. If you are just burning CDrs yourself, you only need 16-bit WAVs. DDP files are always recommended for maximum control over things like seamless playback, CD Text, embedded ISRC codes, etc.

Question 20

I lost the files you sent me months ago. Can you resend them?

Accepted Answer

I sure can!   However, after 30-60 days I transfer all projects to a secure cloud server with monetized download bandwidth. If you need to access your project after then, I charge an hourly rate to download it, extract what you need, and upload it for you.

Question 21

What gear and software do you use?

Accepted Answer

As much as I love talking gear and plug-ins, I don't list any of it on my website. The sound quality of my work speaks for itself. I do not want to be identified with gear rather than results. I do not keep what I use a secret, as you'll see a bunch of gear and plug-ins in the website photos, and I occasionally bring up gear in interviews and articles. However I don't name-drop brands and models as a means for advertising my services. I can assure you that among what I use you'll find high-quality processors, revered in the industry, and more than sufficient for the job. What truly matters is how one uses such things- always.   I've heard incredibly well-produced projects using only free plug-ins and closed-back headphones, and I've heard lifeless butchered mixes mastered in high end facilities with pristine analog gear & professionally treated rooms. In fact, one of the worst-sounding records I've ever played on was recorded & mixed in a huge studio with racks & racks of nice equipment, and mastered by a professional engineer who is employed by some of the most well-known bands in the world! Literally. I kid you not. It was a fluke, but it can happen.

Question 22

Do you offer classes, tutorials, or mentoring?"

Accepted Answer

I do offer hour blocks of Zoom consultation to help you with your mastering, mixing, or original compositions when my schedule is open. Please get in touch to discuss.

Question 23

What other artists, labels, or organizations have you worked with?"

Accepted Answer

Here's a bunch of them.

Question 24

Will my suffering mix sound better after mastering?

Accepted Answer

On one hand, yes, definitely. Many engineers will stress til they're blue in the face that they are not in the business of "polishing turds." "Shit in, shit out," they say. "The master is only as good as the mix," they say. Well, I don't entirely agree!   I do think that you should, whenever possible, even if it's inconvenient, fix problems with your mix in the mixing stage. It is the best option, and it is worth it. In fact, it would be incredibly silly not to if you have access to the mix, or have the ability to re-track that bass line.   However, it is not always possible to go back to the mixing stage. Maybe you're on bad terms with your engineer. Maybe your old hard drive died. So let's say your kick and bass are clashing. There is nothing I can do in the mastering stage to balance them with each other, but there are things I can do to control the resonant build-up of bass frequencies so they do not overpower your mix or stick out as much.   These moves are always a compromise, but they will help. My end goal is to make your record sound as good as possibe, so there is no reason for an engineer to get hung up on principle as to avoid "polishing a turd" if the end result sounds better!

Question 25

Can I save money (and save you time) on a mixing job by consolidating multi-tracks into a single file?

Accepted Answer

This is one of the most common problems I come across in my mixing work, but it is understandable as to why you'd think this would be a good idea.   Mixing engineers and educators will so often stress this idea of "commit! commit! commit! Decide on a sound, finalize it, and move on. Don't give yourself the oppurtunity to go back and tweak things because you'll never finish your project." But this is just flat-out wrong! It is hellishly more difficult to mix a song of yours if you've got cymbals, a snare, and a kick drum, all in the same track. When this happens, I'm basically forced to work with however your kit is currently mixed, and anything I do to it is going to be me trying to work around things that cannot be changed. It will greatly compromise what I'm able to do for you.   Some records I've mixed have come with songs that contain drum multi-tracks (one for each drum), and songs where the whole kit is bounced to a stereo file. The latter songs always sound worse than the former, which is always disappointing. I cannot make your snare more snappy without making the cymbals more harsh. I cannot decrease the click in your kick drum without deadening the smack of the toms. I cannot make your vocals sound wider or more full if all your double, triple, and quadruple takes are in one file. I cannot create more space in the mix if all your guitar tracks are combined. And the list goes on.   Please, for the love of all that is holy, stop bouncing your multi-tracks down before sending them off for mixing! LOL.   It may end up costing you more for the mixing job if you send me songs with 50 tracks rather than 20, but it's going to be so incredibly worth it. If you consolidate to save money, you are basically throwing more money in the toilet than you are throwing at me, and your return value will be less. From your fans, the press, labels, and whoever/whatever else.

Question 26

Why do I need to get my music mastered if I am a DIY artist who is not concerned with "industry standards," airplay, Spotify playlists, etc?"

Accepted Answer

I know that position very well. I come from underground DIY punk and noise scenes. The truth is, even if you don't want to get your music professionally mastered, it should still go through a makeshift mastering process on your end at the bare minimum. I don't know how many homemade tapes and CDrs I've bought from artists like yourself, at basement shows and from small labels, that featured music that was unnecessarily loud and digitally clipping out the wazoo even though it was just indie folk. I've bought albums that were incredibly muddy or muffled (unintentionally, to the dismay of the artist), or so quiet that I had to crank the speakers up so much that the noise floor became intrusive. Unless your intention is "audio terrorism" (which is pretty cool in itself), you should still have consistent levels and a good frequency balance. Your listeners will appreciate it. YOU will appreciate it. There is nothing worse than a record that sounds good at first, but by the time it's over your ears hurt, because that snare drum had way too much 3kHz in it.   Don't you want to hear all the frequency content clearly? Don't you want the instruments you played to cut through the mix, or blend well? Don't you want problematic artifacts that are masking your sound in some way taken care of? Don't you want your recording as loud as possible, without causing your playback equipment problems? Don't you want the noise floor/hiss of your tapes to be relatively inaudible while listening to the actual music? Don't you want your record's needle to stay on track? Don't you want to hear what was originally intended, instead of a distorted (in a bad way) version of it?   If paying attention to these things disrupts the conceptual nature of your project, do what thou wilt. Otherwise, GET YOUR PROJECT MASTERED.   If you cannot afford to have your music professionally mastered, but want people to be able to comfortably enjoy your music and all it has to offer, please study the basics of mastering by watching at least 5 tutorials on YouTube, and at the least do the bare minimum on your own. If you need help, I am available to coach you. Just get in touch.

Question 27

What is your business status?

Accepted Answer

Angel Hair Audio is an LLC, registered in the state of Illinois, in the USA.

Question 28

Your contact form isn't working for me. Can I just email you?

Accepted Answer

Use the little chat box at the bottom of the site. If that doesn't work for you either, my email is angel at angel hair audio dot com.

FAQ