Mastering FAQ

Why should you choose me to master your music ?

By employing an experienced, dedicated  ME (not a bolt on second tier service of a mix engineer) you gain the big advantage of experienced, specific critical listening and objectivity using super high end equipment. I will listen to your tracks with fresh ears and gently (or not so gently) adjust so they sound as good as they possibly can for all audio formats and playback systems. I will level match multiple tracks sympathetically, optimise for streaming and/or high perceived volume and ensure the masters are QC’s (free from clicks, glitches, pops, reduce sibilance) I communicate clearly, simply and effectively to understand your goals before commencing. Lifting your music to its full potential. In addition, once a job is scheduled/paid for my rates if requested include mix appraisal (entire albums albums for a small fee of £50.00) and feedback, this has proven very popular and can improve end results. (professional artists/mix engineers this is of course not obligatory, just tell me to “crack on” if you don’t need feedback.)

What do offer that automated services cannot provide ?

Professional human listening experience of 25 years, mix appraisal if requested, defect removal, analogue processing, all forms of DSP processing – character and precision (all developers, ear selected best tools), authentic personalised service, objective listening on £10,000  monitoring and room, emotional response and enhancement of your music. I am the real deal not an inadequate DSP substitute. DSP is not listening to your music at all.

Do you prefer email or phone contact ?

Of course both are possible, email preferred. Please bear in mind I cannot comment in a meaningful way on a music mix I have not yet heard. In any event, I will likely ask you to re-iterate any important points made in a phone call in an email. Email can often be more efficient as I can reference these notes in your working folder. (Given you can spend €140 for single track with no guarantee of a better result than here, my time is best spent in the studio working your music.) My major time focus is on actual paid for proceeding jobs. Payment schedules all jobs here for the last 16 years (with possible exceptions for established labels). If you just wish for a conversation about an album job this is totally fine.

 

How do I get the files to you?

Use wetransfer.com, swisstransfer.com or mailbigfile, only wetransfer automatically zips the files up (the most robust way to send audio) simply insert SafeandSound123@googlemail.com in the “Enter friends email address” box and add audio files from your hard drive. Or use any other quality file transfer service.

Please do not send MP3, m4a, ogg vorbis or wma files  as they are data compressed and already degraded, preferably send 24 bit .wav or .aiff files at your project sample rate (no need to change it), further details below.

Please listen to your tracks with headphones on specifically for clicks before uploading.They are extremely common, excessive clicks/glitches (more than 5) will attract restoration fees.

(these services can slow up from time to time)

What audio file format will my mastered files be delivered as ?

My standard delivery is dithered 24bit 44.1kHz .wav files. This is currently the most widely accepted format for digital distribution (and is standard for Red Book CD format). If you require alternative formats or sample rates please communicate this at the start of the project and check your distribution platform can accept them.

If you have specific delivery requirements such as a 24 bit master (such as 16 bit for CD Baby) let it be known before the work starts, explicitly by email when each new job commences, without exception. It is the clients responsibility to check delivered files are suitable for intended purposes. You must check all masters to ensure they are suitable for purpose prior to upload via distribution channels. 

Multiple delivery formats (bit depths/sample rates) means multiple file generation and quality control (listen back) and takes time so there may be a nominal fee applicable for multiple bit depths, perceived volumes and sample rate deliveries.

If you plan a CD duplication or replication run I strongly recommend you have a DDPi which is safer and less expensive than a set of CD-R masters. ( DDPi £35.00 / CD-R master disks £65.00) A DDPi is a file format that includes all contents of a CD master. I include a client player which can be used on a Mac or PC to audition your mastered tracks and view all sub code information. Check with your plant that they can accept the DDPi format.

Information regarding optional delivered file formats

I am sometimes asked for differing song versions and various file formats. In 2026 there are new considerations, and the use of volume normalisation in some streaming services. (such as Spotify, YouTube and iTunes etc.). As such it can sometimes be necessary to deliver multiple masters for different purposes, but not always so please ask at the time you get in contact about streaming masters. This is why mastering is and always be a skilled and specialised service which is bespoke for every client. Part of my approach is communication of technical issues that may not be well understood by everyone making music. I can, of course make music very loud if need be.

I am able to advise in more detail once a job has been paid for as it is specific to clients needs. Multiple file formats and versions can require small additional fees as extra work is required to provide compliance, quality control, deliver multiple files and versions. Once you have paid the basic fees I can explain to clients in detail the options available if need be. There are new developments that may have industry wide implications.

 

How long can a track be ?

Common sense applies here, I’ll say 8min 30secs is the longest track I will master as a single, it is ultimately discretionary, longer tracks of course take a little longer to master overall. If your track is longer please get in contact and I will add a small fee.

Shall I leave my master bus limiter on ?

Please remove it. By removing the limiter it allows myself to make your music sound as good as possible. In this way I have full scope to apply equalisation and dynamic processes to maximum effect. One aspect of this work is the correct and specific application of a choice of limiters that will suit your mix down. When you remove your limiter double check you are not clipping the master bus after removal. If you see “overs” or peaks up to 0dBFS/clip point/digital zero after removal, as a compromise, pull down your master fader by the amount required to stop clipping and for the future please read this article I have written about mixing gain structure. (i.e. levels)

https://www.masteringmastering.co.uk/gainstructure-html/

If you have mixed into a limiter and used heavy gain reduction you will hear how the limiter has significantly affected your mixing decisions and balances. When you plan to use a professional ME, mixing into a limiter is not recommended (other than for an occasional check). ME’s use a variety of means to achieve higher perceived volumes and using just a limiter does not really give anything other than an approximation of what a ME may do. It is best to mix a track into nothing more than a gentle bus compressor.

How much headroom shall I leave on my master bus?

The most important factor is that the master output is not clipping. This is exceeding digital zero/clip point/0dBFS. An ideal situation would be if your mix was peaking between -12dBFS and -6dBFS . However as long as it is not hitting 0dBFS it is a non issue. Most DAW’s will give information about a file so you can check the samples maximum peak value. You may use the compromise of pulling back the master fader by the amount needed to stop clipping. In future if you start your mixing with the kick drum peaking at -14dBFS at 24 bit you should have ample headroom on your mix down.

A few words regarding audio restoration.

It is typical for a track to have a few clicks in (edit points and vocal mouth noises, synth envelopes most commonly), so these are removed inclusive up to single figures (up to 9) click removals in a project before it starts to be deemed audio restoration. Noise reduction and excessive click removal is time consuming work (it is performed manually for transparency) and is not inclusive in the standard price. I will provide you with a very competitive price for this additional work. It will be to the order of £10.00 for a single and up to £90.00 extra for an album – i.e. hiss reduction and excessive click removal – approximate rates only to give you an idea. You will be advised in advance if there are excessive clicks or excessive hiss levels.

Can you give and insight on the  procedure ?

Sure, in short is listening and responding with the most appropriate sonic toolset (of which mine is extensive), it is part art and part engineering, the artistic aspect is gained through many accumulated years of experience in audio engineering techniques and very specifically having listened to many 1,000’s of music mixes in an unchanging and accurate monitoring circumstance. The PMC IB1S and serious acoustic treatment (many multiples and up to 1.8M deep bass traps for example) produce a ruthless listening environment where the strengths and weaknesses of a music mix are instantly and precisely revealed. An intimate sonic knowledge of every item in an analogue chain (sonic character and capability) along with specific and ear selected digital counterparts. These aspects add up to a sum greater than parts. This is all coupled with trying to understand the sonic goals of the client.

What is clipping and how can I tell if my audio is clipped?

Clipping occurs when your audio mix goes above 0dBFS on the output of your digital audio workstation meters. This can be seen on the meter itself in your mix down session.Positive numbers indicate clipping, as does the meter hitting the end of the meter display.In a final stereo mix audio file itself zoom deeply into a peak like a snare drum, if the top of the waveform is squared off or “flat topped” this indicates clipping has occurred. Rather than adjusting the balance of the mix on the faders simply pull down the master output fader by the amount required to stop the clipping happening. To be sure pull it down a few more dB than needed and bounce/export at 24 bit resolution.

Do you retain my files for future recall ?

Every attempt is made at retaining audio for as long as is possible. However, no guarantees are made regarding retention of audio as part of the service.

Can you tell me about your free preview?

And by all means phone and have a brief chat regarding your goals, it is always pleasant to speak to clients in person, just because the service is online does not mean it needs to be impersonal, Barry (0)7810271371.

Are my files secure upon upload and transfer ?

In 15 years of operation there has been zero privacy issues when using www.wetransfer.com this service automatically zips the audio files and this is the most “data corruption” safe means of sending audio. Swisstransfer and mailbig file are also good, be sure to .zip the files first (Most  computer OS can do this). The compression is loss less and uses a CRC32 check sum so the data integrity is 100pct accurate throughout transfer and decompressing process.

If you want to be extra security conscious please download and install “7Zip” for Windows. 7Zip allows you to enter password protection so only the recipient of the password can open the file. If you use 7Zip please inform me and provide the archives password.

Some studios offer a lower rate or trainee engineer service, do you ?

I do not offer any second class services, this work by definition does not lend it self well as a “tiered service” this is in opposition of the definition of what mastering is. It is a service without compromise to get the most from a clients music using all and any tool available, analogue or digital. There are cheap  services online it is the wrong time to be duped by cheap, inexperienced engineers using poor monitors and bad acoustics. It is not the time for learning and experimenting. At Safe&Sound you get 1 uncompromising high end service at rates competitive to others “second class” sales gimmicks. At this stage you need top level engineering knowledge. 

Current rates on this page :

Pricing and payment

What is the difference between mastering, mixing and using stems ?

Mastering typically works with the stereo 2 track audio files (the stereo interleaved mix down file), all processing is undertaken on the stereo audio file, sonic sweetening, improving translation of music to all reproduction systems, adding warmth etc.

Mixing is balancing multi-track audio files using faders, (i.e. kick, snare, toms, cymbals, bass, keys, lead vox, brass, strings, backing vox) in mixing there is discrete control over all the elements of a multi-track recording which is usually automated to a high degree.It is a time consuming procedure. Each sound source runs through a mixer channel where discrete processing and automated levelling can be applied.

Using stems is a hybrid between mixing and mastering and there is a quite strict definition. Stems are groups of “like” instruments such as drums, synths, guitars, bass, vocals, brass section, backing vocals, percussion, piano, wind etc. It occasionally uses automation, but not always. It allows the  engineer more flexibility and control to improve the end result if there are any doubts or insecurities about the mix down. (Good stems should recombine to produce the mix as it sounds in an exported stereo file). Stems are useful if there are continued issues of mix balance or uncertainly about any given mix element. It’s a valuable service to many and can really produce some stunning results. Please get in contact as I allow up to 14 stems.(often at a cost lower than some engineers stereo work)

(Up to 14 stems is £56.00 per track. When supplying stems please ensure that all bounces/exported groups are bounced from exactly the same point in your DAW timeline so they re-sync here) If you have a reference track send it at the same time as you send your stems, reference tracks are used as an approximate guide for tone and perceived volume.

Full information regarding this service on on this page:

Stem mastering

 

Is it ok to let the recording studio where my tracks were recorded and/or mixed do this final stage as part of a deal package or master it myself ?

It is not optimal for your musical releases, because :

1) Specialist mastering will not compound any problems caused by their monitors and acoustics.

2) A specialist will do a better job because they are well versed in the listening techniques required for the niche engineering discipline. When you do it every day, you become expert.

3) It is best to have the superb acoustics that an ME will be working in and ultra high end DAC (audio interface) and amplification which many mix studios do not. (or domestic home/project studios)

4) A fresh eared dedicated engineer will have objective listening capability on your musical project. For an artist, producer or mix engineer objectivity is extremely valuable and yet remains illusive without another engineer you can trust.

5) Specialist, high end  equipment commensurate to the task, ear selected software tools will take your productions to a new level.

The results are very much likely to be better when choosing a dedicated professional who masters day in, day out. Not to mention the difference in price is minimal. (and possibly lower ! )

How do I make a payment?

Paypal is preferred, bank transfer for trusted clients.  Please see side bar “Pricing and payments” for easy to use Paypal buttons. Paid work is prioritised. No Paypal ? Often a friend or relative will have an account so you can settle with them, many clients pay this way. For well established record labels I will consider 30 day invoice terms.

Are revisions free?

Your satisfaction is most important to me, I am confident I can provide excellent results for your music. From time to time people wish to have a revision on a master, that’s fine. Usually I hit the mark first time.

You get up to 2 free revisions on a single, 1 free revision for albums (further revisions on albums discretionary, as of course for albums it can take more time) Revisions are on the original mix sent inclusive in the  rate, excessive revisions, requests for higher perceived loudness when a reference has not been provided can become chargeable. Resubmitting a mix file once it has been mastered will usually attract a fee of £15.00 per version as the project will require further hours. At Safe&Sound I use analogue equipment and there it is only possible to process in the analogue domain in real time so effectively the job is being done again. A resubmission of a mix is not a revision, a revision is an adjustment of EQ for example of the originally mastered mix.

Can you make my track very loud?

In short if required, yes. At Safe&Sound  I can increase the level of your track and seek to minimise side effects. How loud your track can go without the inevitable side effects of distortion, loss of depth, loss of punch (impact of drums) and loss of space depends greatly on the integrity and balance of the mix. It will vary between tracks. Also bear in mind that the “louder” your track is the less likely it will sound good when broadcast on FM radio or when converted to a lossy format such as MP3. If a loud master is your primary concern please provide a single level reference track before the job commences. I can produce masters as loud as anyone else can given the same track. I use the most advance loudness making tools that exist.

Usually, it is just a few dance genres that want extremely loud masters these days and maybe some extreme heavy metal sub genres. Large level increases affect the tone/stereo image/drum punch etc. of the track so consider perceived volume with care as some tracks will hit high perceived levels more gracefully than others. There is no isolated “loudness button”, this is a holistic procedure of which loudness is one element and is also highly dependent on other sonic qualities. In saying that I can likely get it as loud and good sounding as anyone. 

In many instances a single, reasonably louder yet sensible perceived volume master will work well for all purposes. Please enquire at the time you send your job and make payment.

Shall I leave my stereo bus compressor on the mix ?

If your bus compression is being used for character/colour alone this is fine. Assuming you are doing just a few dB gain reduction and that your track is really benefitting when volume matched before and after compression. If you feel the compressor you have is an integral part of the mix “sound” that is no problem, if it’s for increasing mix level only please remove it and send the single resultant stereo file

Do you offer mix advice or mix appraisals ?

If you have made a payment, mix appraisal is inclusive if you require it for singles and EPs. Unless there is something very wrong that needs to be addressed in the mix stage (i.e. 8dB too much bass on your kick drum etc.) I will not usually critique a mix unless requested to do so or if there is a fairly obvious problem that needs addressing.

This may differ for regular, reliably paying clients and mix advice can be offered when we have established a working relationship. This is a very valuable service for which many  engineers charge. I include it for free at this time except for entire albums. Mix appraising an entire album of 9-12 tracks is a considerable undertaking of extra work. 

I believe mix advice when requested benefits you and myself in getting even better end results. It is a little unusual for someone to commit to an entire album and then need mix advice, for an album of 10 tracks I will charge a small fee to appraise the entire album if required £50.00 is typical.

What are ISR codes?

“ISRC” codes are unique 12 digit track identification numbers which allow automated royalty reporting. These codes can be embedded in DDP images, Red Book CD-R master disks and within the designated AXML data chunk in Broadcast .wav files. In the UK you can get them from PPL :

https://www.ppluk.com/help-centre/faq/how-do-i-get-an-isrc/

In other countries you need to find and contact the issuing local body. Apply sooner rather than later as they can take 2-3 weeks to obtain, this will delay CD-R pre-master creation. Apply now, rather than wait.

Do I need to send any other information?

Ideally you would supply audio files as above, ISRC codes, running order, exact track name, exact release title for disk, exact artist name for disk, mailing address. If you have a reference track for perceived volume/sonic quality please send it. If you have specific track gap requirement please inform me (or send a 128kbps mp3 montage of your track sequencing). Information such as “remove track count ins” or “leave track count ins”, “start fade at 04:19 to end”, is useful. If you need files to be returned at exactly the same length i.e. for video sync or anything specific it should be communicated at the start of the project. An ME is performing technical work that concentrates on best translation of your audio across many sound system types. Taste and your artistic preference does have a role to play so any sonic pointers are absolutely welcomed.

Are P.A./instrumental versions chargeable?

This is on a case by case basis, normally they are free (1 of either) but a nominal fee may be charged for borderline “same” tracks. It is not typical for example to have an entire album of instrumental versions and as such a nominal fee (£50 would be typical) may be charged for the extra time and responsibility to work with them. It is ultimately discretionary. In any event they must be delivered in one and the same delivery to be classified as a free version. There are no exceptions to this rule as recalling settings later is time consuming and not possible within the scale of fees. Alt versions beyond discretionary instrumentals are £15.00 per mix/version, mix resubmissions after any remedial advice has been followed are also £15.00.

How long does mastering my music take?

All jobs at Safe&Sound are scheduled once full payment has been made. This keeps my schedule solid and fair for all. I receive many types of inquiries daily and payment alone schedules the actual job. Once paid the job goes into the next available slot. A fair and clear system which keeps my professional focus on actual jobs.

Turnaround varies 2-7 working days typically, but this depends on integrity of files sent, payment being made, busyness of studio, if it’s a single, E.P. or album, speed of client response to communications / approving tracks and whether it is a stem project. Sometimes I advise of sonic defects in tracks (clicks and pops etc. and their subsequent correction in the mix) So it can vary. During busy periods longer times are to be expected and shorter turn around during less busy times. When you pay your music gets scheduled, if not other people can pay in between communications and come forwards in the schedule. I always try and accommodate deadlines but on the basis payment is made prior to works commencing. So far not a single paid job deadline has been missed, a system that works for both client and engineer.

Additional note : One of the most common and unnecessary delays is the existence of clicks in audio files, in digital audio files they are rife, either from export/bounce problems or simply bad edits or sample ins/outs. Please alleviate this type of delay by listening to your actual bounced file (not the DAW session) in full on headphones before sending it. (you can make defects easier to hear on poor headphones by inserting a shelf equaliser at 2kHz + 6dB to emphasise clicks etc.)

What equipment do you use ?

In a nutshell, the best – PMC IB1S – 3 driver high end monitors, MANLEY Massive Passive (hardware), HCL VariS (Vari mu compressor), Crane Song Solaris Quantum DAC, MYTEK ADC, Summit Audio DCL-200 valve compressor. Custom built Sontec inspired analogue mastering equalizer, Izotope RX Restoration. Ear selected plug in software from almost all major manufacturers (Metric Halo Sontec 432D9D, Weiss, Tone Projects, DMG Audio, Fabfilter, Relab, Oeksound, Acustica, PIA and many others. Adding new amazing tools from time to time.)  Frequently reviewed and updated. 120dB dynamic range AD conversion with audiophile grade electronics. I use whatever sonically serves the project best. As a word of advice use only studios that actually show their equipment ‘in situ’ in the studio. The room here is very extensively treated with deep and copious bass trapping, absorption and diffusion. The result is a linear and detailed listening response and an environment where I have complete confidence in making sonic decisions. There are many dubious/inexperienced operations out there using equipment no better than your own. Equipment and room is important, it relates to the engineer’s philosophy and there is skill in choosing the best sounding hardware and software, it requires the same hearing acuity as does the job itself.

What is your engineering background ?

After leaving audio engineering college and obtaining a diploma I was trained for 3 years by a BBC Studio Engineer. I later worked at the UK’s largest audio production company as head of engineering. Daily work involved recording very well known professional musicians, engineering multi-tracked and direct to stereo music recording sessions, engineering music mixing sessions, balancing live recordings for BBC broadcast programmes. Mastering was also involved in various projects which inspired me. Managing large scale outside broadcasts, live music event recording. As a freelance engineer I worked in audio to video post production houses, music recording and broadcast studios. I have been successfully operating Safe&Sound for 16 years and have been doing this full time, dedicated, I have also been producing my own electronic music in a home studio environment since 20 years ago and am now mainly focusing on playing guitar or making synth based music as a musical interest pursuit.

Engineering experience and clients listed in detail on this page :

Mastering engineer, recent clients and testimonials

How do we credit you ?

If you wish to credit me on your release it is always appreciated but not obligatory of course. Simply : Mastered by Barry Gardner at www.masteringmastering.co.uk is fine : )

A few words about reference tracks…

If you would like to send me a mastered commercial reference track (a 1 minute clip is usually fine) it should be delivered at the same time as your stereo mix or stems. A reference track can be useful as a guide to perceived volumes and overall tone for the job. MP3 is fine but please try and send MP3’s at no less than 320kbps.You should always send a realistic reference. If the reference is wildly different from your mix tone then it is likely you need to improve your mix first. Otherwise it can be quite useful in attaining your sonic target.

What format does your mix advice come in ?

Mix feedback/appraisal is in the form of concise feedback like this example: ” Save As your project prefixed with ‘EQ tweaks’, then : Kick drum is lacking in sub add 3-4dB at 55Hz Q of 1.5 to give it a bit of weight. Bass note at 00:33 is 4 dB louder than the others, this maybe intentional accent, I will leave it for you to discern. Vocal is a little muddy pull out 3dB at 190Hz Q of 0.9. Also add a little air to the vocal 2 or 3dB boost with a high shelf EQ at 12kHz. Boost vocal at 3kHz by 0.7dB Q of 1.00 The bass sound is lacking in sub content but there is little to be done about that as it will get muddy quick IMO. Overall instrumental balance is fine but the snare and kick sample mean it won’t be quite as punchy as some other tracks in this genre.”

How are your prices are so competitive ?

(not an actual FAQ but I suspect many do ask themselves this) There are many factors involved in pricing and they can and do change a little from time to time. Music is my passion in life and enjoy helping people take their music and sound to its maximum potential. I have always wanted authentic audio mastering to be affordable for everyone who is interested in it. I do not have any loans on the  high end equipment used in the studio (not automated/DIY which all fall far short of the real job.). I prefer to have a little more work throughput and be a little busier than charge too high rates. As you can see throughout the site, no stone is unturned when it comes to professional skill and quality of tools used. I  am able to operate at the very highest level with the best musical artists on the planet and yet have respect for all musicians and labels by having rates that work for all. I am an efficient yet conscientious worker and keep my operating costs low and pass that on.

Do you do Apple Digital Masters  ?

The answer is yes and this must be clearly requested in your communications prior to the job commencing. MFiT requires a specific set of guidelines to be followed and this normally means a slightly different way of working and a little more work so it is not trivial to create MFiT files after you have received your non MFiT masters.

Simply send your high resolution 24 bit and above (non up sampled) files and I will perform the necessary work to adhere to Apple’s guidelines. You must state you want the tracks “master for iTunes” before the work commences. Adjustments at a later stage become chargeable.

Do you offer mixing services ?

Not at this time, I am dedicated to this service, which what really good MEs do. Mix engineers cannot master music as well as a dedicated engineer. Why ? Objectivity, day in day out experience and focus, quality of monitoring, room acoustics and equipment. Please check out my stem mastering page which may be of interest. It is an approach some like to take so targetted tweaks can be made. I will master up to 14 stereo stems inclusive in the price.

Do not hesitate to contact me for any other questions you may have….

Barry +44(0) 7810 271371 / safeandsound123@googlemail.com