FAQs

Materials can be delivered in various forms and by several delivery methods:

Preferred

FTP upload
CD-ROM
DVD-ROM
USB flash drive

Acceptable

Audio CD
FireWire drive
Masterlink CD

Acceptable, Prior Delivery Required

DAT
Cassette
Mini-disc
Vinyl
Analog Tape

Other formats may be available on request. Please contact Allen directly for more information.

Please use the following chart to help you prepare your files for mastering:

Preferred

WAV or AIFF
Stereo Interleaved
24-bit
44.1kHz–96kHz

Accepted*

SDII
Dual-mono
16-bit, 32-bit
176.4kHz, 192kHz

*Additional charges
may apply

Not recommended

MP3
32kHz
Cassette

If possible, please rename your mixes with the intended album order, such as:

01_First Time.WAV
02_Second Pass.WAV
03_Third Time’s the Charm.WAV

Please re-import the finished files, and make sure that mixes are not clipping. Sound
file should be submitted as intended. Make sure the files have the entire song and do
not mistakenly clip off the leading edge of the very first sound or the last tail at the end.
Leaving a little extra at the beginning and the end of the file is preferred.

Fade-outs are best done after mastering has been done, as volume changes due to
compression, etc., can change the final sound. If you choose to do your own fades
please understand that a fade-out that ends up too short cannot be extended during the
mastering process.

It is recommended that you send your materials well in advance of the session date
so that any possible issues may be discussed and/or remedied before the intended
session date.

Unnecessary sample rate conversion will generally do more harm than good. If you
are working “in the box” it is best to keep the sample rate of the final mixes at the same
sample rate as your session. If you are mixing to an external recorder through analog
gear it is best to capture at a higher sample rate (if possible).

Multi-track session files (such as ProTools sessions) are not used in mastering. Except
when working from stems (see “Do you work from stems?” below) mastering only uses
the stereo mixes. Please do not send your multi-track session files.

Working from stems is possible but can complicate the session and increase the cost
of mastering your project. Please contact Allen directly to determine if this is recommended for your project and how it may affect your final cost.

If you wish to use mix-bus compression it is best to apply it early in the mix process
and to use conservative settings. It is not advisable to add mix-bus compression or any
other processing at the end of the mixing process.

Please do not use brick-wall limiters, finalizers, or any other additional “masterizers” on
your mix prior to sending your files for mastering. If you feel this additional processing
is essential to your mixes, it is best to provide one version of the mix with it in place and
one without, with both files clearly labeled as such.

Flat rate mastering sessions include:

• One reference disc (listening copy)
• One round of mastering revisions* and second reference disc (if needed)
• One final master (CD-DA or DDP Image)

*Mastering revisions include EQ, limiting, volume adjustments, and other services normally done at the mastering stage. Changes such as mix revisions, album re-ordering, additional edits and the like, may incur additional charges.

Hourly mastering/editing rates include:

• One reference disc (listening copy)
• One final master (CD-DA or DDP Image)

Additional reference discs, masters, and services are available for additional fees.

Please contact Allen directly for more information.

Cash or check payments are preferred; bank transfer via Paypal is also accepted.
Credit cards can be accepted via Paypal; however please include an additional 3% to
cover the Paypal fees.

Payments 30 days past due will be subject to a 5% interest fee per month overdue.

Several forms of sub-code data can be encoded on your final master, although it is not
absolutely necessary to make a master. These sub-code data include:

CD-Text

CD-Text includes the band name, album title, all track titles, and can be displayed by CD-Text capable CD players. Most standard CD players are not CD-Text capable. Please provide this information exactly as you wish it to appear on the disc prior to the session. Please understand that CD-Text is NOT the same thing as CD-DB (CD database), which is what computers use to display track titles. Most computers will not display the CD-Text encoded on a disc but will attempt to retrieve the information from one of several online databases, such as Gracenote.

Until those databases have been populated with your project’s information (which may take up to a month or more) do not expect your track titles to be displayed when putting your disc into a computer.

ISRC’s

ISRC’s (International Standard Recording Code) are alphanumeric codes designated for each individual track on an album. To learn more about ISRC’s and to register for your own “registrant code” please visit: www.usisrc.org.

UPC

The UPC (Universal Product Code), also known as a “bar code”, is a unique number designated for a physical product like a CD. This code can be included on your master, although it is not necessary. Many CD manufacturers and online distributors can provide you with a UPC if you will be using their services.

The reference disc will contain the same audio and sub-code information as the final
master. However, once you have approved the reference disc, several layers of quality
control checks will be conducted to ensure that the final master is 100% as-intended
before it is sent out.

Replication Pre-masters (audio CD) are created, analyzed for writing errors, and then
quality-control auditioned by listening to the entire disc from beginning to end.

DDP images are auditioned during creation and then undergo two additional layers of
data checking to ensure data integrity before and after transmission.