#1 Mix a mix. (do not master a mix)

Tracking, Mixing and Mastering are three distinct steps in music production. You want to mix the best sounding tracks that you can, without trying to match the levels of a mastered release. Mixing should focus on musicality, dynamic-to-transient balances and eq relationships, everything EXCEPT the overall volume. There should be distinct high, mid and low frequency material to suit the style ... dynamics to make the music move ... left, center, right, front, middle and rear placements, etc. Make it sound great, yet with no concern for the volume. When comparing your mix to mastered CDs, ignore the overall level as mastered CDs will generally be much louder. And please, no limiting or normalization on the 2 buss.


#2 Compression (good for tone not for level)

Compression on the 2 mix for color and glue can be great, yet dont do it for level. The color and sound quality of mixing into a compressor is unique, yet it can't be undone. Compression makes distortion, and these artifacts will be amplified in mastering as compression or limiting may all be applied. Music can only take so much distortion before it sounds small so be wise in your compromises. A really loud master is often the result of a dynamic mix with great balance. If you want volume, mix for great balance. For home studios, please remember that even with a 2 mix compressor you like the sound of, artifacts you can't hear in any one set of monitors can be more invasive than you might guess. If you're in doubt at all, please provide both a compressed and an uncompressed version for my reference at mastering. If I end up choosing the uncompressed version I can hear what you wanted from your compression and make that happen better in the master.


#3 Peak levels for digital mixes (need not exceed -3 or -2dbfs)

Peak levels as low as -10 up to -3dbfs are great. Peaks touching 0dbfs are fine, yet an unnecessary risk. If you are reconverting with a 'Soft Limit' Apogee A/D, a HEDD, or any limiter plug-ins, please turn them off and simply lower the level 2 to 3db overall. There is no quality loss with a lower level in a 24 bit world.

More than Volume.

Mixing is one stage, mastering is another ... if you resist the temptation to slam everything at mixing and let the music breathe, you'll have a fighting chance of getting the levels you want at mastering, while sounding better on the radio and the web. Radio uses complex multi-band limiters, read all about them from their designers here. Even MySpace uses a horrific limiting scheme!

You're a mixer ... mix! Enjoy it ... don't fear that your RMS level will be too low after mastering, fear that your mix sucks right now. A great mix is easy to get loud enough.

Loud records are here to stay and if you want level I'm happy to go there. My default mode is likely loud enough, and if you want dynamics in tact I'm thrilled to help. So no matter your aim, feel free to enjoy mixing, and let me do the volume. If you want a timeless record it can still be loud, but it doesn't have to suck. Mixing for volume makes sucking much more likely. Mix for musicality!


Mastering is Maximum Results.

Great mastering takes a record, and each of it's single tracks over the top. If the mixing is good it can become great. If the mixing is great, it can be top drawer. Properly mastered records sound consistently strong on $50 to $50,000 systems, car stereos, boom boxes, iPods and the radio. An essential stage in the recording process that is easy to overlook when cash is tight and everyone is in a hurry to be finished, the actual value of quality mastering is a relative bargain compared to the myriad expenses involved with writing, performing and recording that go into every record. And little ol' me? I'm priced as low as I can get by, musician friendly, indy friendly pricing for high end work.