FAQ
Is mastering the final step before my CD is sent away for replication?
Yes. Your finished album will be supplied on a red book compliant CD
suitable as a final master for replication.
I have the latest x,y or z limiter/multiband compression plugin;
can't I just run my mixes through that and master myself?
You could, but it might not be the best idea. Using one of the many
DIY mastering plugins will probably make your music somewhat louder
but will it actually sound better? I have the knowledge, specialist
tools and experience to make your music sound better and louder in a
way that will translate to the widest number of playback systems and
environments.
What is a Red Book CD?
The Red Book standard is the set of specifications laid out by Phillips
and Sony for commercial audio CDs. It includes PQ codes which set track
starts and pauses, also information about ISRC codes, emphasis, copy
prohibit, CD Text etc. It also has strict requirements for allowable
error rates. Many examples of CD burning software available to the home
user are unable to write audio CDs which conform to this standard making
them unsuitable as masters for duplication. Luna Sound has the right
combination of CD burning software, precision burners used at low speeds
and high quality media (Taiyo Yuden) to ensure that your Master will
meet all necessary requirements.
At what level should I print my mixes?
Try to print your mixes a little below 0dBfs. There is no hard and fast
rule but aiming for a maximum peak level of about -6dB would be reasonable.
This helps to avoid problems which may not show up in your mixing environment,
but could seriously limit the potential for how good things can sound
once they reach the mastering stage. Even if your mixes are peaking
at a relatively low level there will be little or probably no perceived
drop in quality, especially when working with 24bit audio.
Should I use a limiter to stop my mixes from clipping?
No! If your mixes are clipping (going into the red, exceeding 0dBfs
etc.) then the easiest way to bring the level under control is to pull
back your master fader until the peaks drop to a suitable level.
I want a fade out at the end of my tracks; should I do this or will
you?
It is best to leave fade outs/ins and cross fades for the mastering
stage. I'll need to know when you wish the fade to start and end.
Should I use processing such as eq or compression on my master bus
when preparing mixes for mastering?
Preferably not. Generally speaking, any processing you do to your final
mix bus can be done more effectively at mastering. Of course there are
always exceptions. If for example you are using a compressor on your
master bus to create a particular sound then that's fine. However if
in doubt, don't use it!
What format should I use to send my mixes to be mastered?
I can accept .wav, .aif, and .sd2 file formats. Use whatever sample
rate you have been working at, 44.1 KHz, 48 KHz, 88.2 KHz or 96 KHz.
DO NOT convert the sample rate of your mixes before sending them! Preferably
make the files 24 bit as this is better than 16 bit. Please do not send
32 bit files. If you have no alternative then I can also accept 16 bit
DAT tapes and as a last resort compressed files such as .mp3, .m4a and
.aac Please note: It is highly recommended that you make backups of
your files before sending them for mastering.
How loud can you make my music?
This depends to a large extent on how loud you want it. I will always
aim to bring an appropriate balance between overall loudness and making
the music sound as good as it can. It is possible using modern techniques
and equipment to achieve a remarkable increase in loudness before the
side effects become too annoying. If your music is well arranged, performed,
recorded and mixed then that is a huge head start to achieving a master
which sounds both good and loud. It is however an inescapable fact that
as the loudness of a master is increased, so the sound of that master
will also change and not necessarily for the better. Many commercial
records have been mastered very loud in recent years. Just try listening
to Pink Floyd's "Dark side of the moon" and then to Red Hot Chili Peppers'
"Californication" without adjusting the volume control. It should be
very apparent that the Chili's album is very much louder, almost shockingly
so! But which one sounds best? Obviously that question is to some extent
a matter of taste; however the extra loudness of the Chili's record
does come at something of a cost. Much as I like the album I personally
find the general level of distortion and lack of any real deep bass
to be frustrating. These traits are quite clearly attributable to the
processing which would have been required to obtain the high loudness.
Don't forget that I, like you, can always reach for my volume control
and listen to Pink Floyd as loud as I like, but none of us will have
the pleasure of listening to the Chili's album without all that distortion!
Although making it sound good will always be my priority, if you like
it loud then that's how you'll get it!
How long will it take?
Once your mixes have been received, your final master (or reference
cd for checking) can often be sent back to you within a week. If you
are in a special hurry, this time can sometimes be reduced depending
on current workload. Please contact for any specific requirements.
Who runs Luna Sound?
Luna Sound is run by Luke Fellingham and Nathan Fellingham.
Where is Luna Sound?
Luna Sound mastering studio is based in Eastbourne, UK.
Who have Luna Sound worked with?
Luna Sound have successfully worked over a number of years with many
artists in many genres.
These include:
Phatfish
Kit Ashton
David Nickerson
Lou Fellingham
Becky Drake
Quirky Motion
Fruit Media
Keswick Convention
Kris Morris
Vineyard Records UK
Alex Eberhard
Mill Lane Gospel Choir
Rue Horne Trio
Strangeday
Steve Parsons
ICC Records/ Spring Harvest
The Long Tomorrow
J Edgar Hoova and the Body Removers
Rob Newey
Jamie Cernik
Soul Sista
Glass Darkly
Seeker
Head Luggage
Orbitalstream Studios
Nik and Emma Pears
MC Tempo
Nevaeh Hope
Ziz Horns
Charly Cooper
Andy Ferret
Matt Redman
Martyn Layzell
Vicky Beeching
Lex Buckley
Andy Arganda
Beth Redman
Esther Alexander
Ertia
Katherine Lamping
etc
© Luna Sound 2008