How to prepare a track for mastering

Mastering is the last stop before release. It's where your track gains cohesion, its tonal balance and loudness are set, and it's prepared to sound good anywhere. But there's one thing worth understanding from the start: mastering works with what it receives. The better prepared your mix is, the more room there is to make it shine.

This is the checklist I'd like everyone to go through before sending a track to be mastered — whether it's with me or anyone else.

1. Make sure the mix is really finished

It sounds obvious, but it's the most important point. If you're still thinking "the vocal is a bit low" or "I'm not sold on the bass", it's not time for mastering: it's time to go back to the mix. Mastering can correct overall details, but it can't raise just the vocal or remove one specific sound without affecting everything else.

A good test: listen to the mix the next day, with fresh ears, on two or three different systems (monitors, headphones, your phone, the car). If you like what you hear on all of them, you're on track.

2. Leave headroom

Headroom is the space between the loudest peak of your mix and digital full scale (0 dBFS). A common practical reference is to keep peaks roughly between −6 and −3 dBFS. No need to obsess over an exact number; what matters is that the mix doesn't hit the red and nothing clips.

If your mix is already slammed against 0 dB, pull down the master fader or, better, the overall level of the tracks until you get that space back. It doesn't change how the mix sounds; it just leaves room to work. It's the same approach I use when delivering my beats: I explain it in the loudness war.

3. Take the limiter off the master bus

While mixing it's common to put a limiter or maximiser on the master to hear "how it would sound loud". That's fine for orientation, but switch it off before you export. A limiter on the mix leaves less room for mastering and can squash transients that can't be recovered later.

What about bus compression or "glue" that's part of your sound? If it's gentle processing that defines the character of the mix, you can keep it, but mention it in your notes. When in doubt, send both versions: with and without processing on the master.

4. Export in the right format

WAV or AIFF, never MP3 or other compressed formats.
24-bit (or 32-bit float if your software allows it).
The same sample rate you worked at in the project (for example 44.1 or 48 kHz). No need to convert it.
Not normalised, and no added dither if you export at 24 or 32 bits.
One stereo file per track, starting slightly before the first sound and ending once the last reverb or delay tail has completely died away. Don't cut the endings.

If you want fades, you can do them yourself or ask for them in mastering; what matters is saying so.

5. Pick one or two references

A reference is a released track that sounds the way you'd like yours to sound, in character, brightness, low-end weight or punch. It's not about copying it, but about speaking the same language. Say what you specifically like about each one: "the bass in this one", "how upfront the vocal is in that one".

6. Write a few short notes

A few lines help a lot:

Where it will be released (streaming platforms, video, club, vinyl…).
Whether it's a single or part of an EP or album, and the track order.
Anything that worries you about the mix.
Whether you need extra versions: instrumental, clean version, a cappella…
Metadata details: exact title, artist and the ISRC code if you already have it.

7. Name your files properly

Something as simple as "Artist – Title – Final mix – 24bit 48kHz.wav" avoids confusion, especially when several versions are floating around. For multiple tracks, add the track number at the start.

Quick summary

Mix finished and checked on several systems.
Peaks roughly between −6 and −3 dBFS, no clipping.
No limiter on the master (or both versions if in doubt).
WAV/AIFF at 24-bit, original sample rate, not normalised.
Full tails, no cuts.
One or two references and clear notes.

The best master starts with a mix that already works.

If you have questions about any of these points, or want a second opinion before calling the mix done, write to me.