FAQ

What file formats can I supply to the mastering engineer?

File Format & Quality

Your mix must be at least 44.1 kHz / 24‑bit. This gives us a clean, detailed version of your audio so our tools can work accurately. Higher‑quality files = fewer processing errors = better‑sounding masters.

Please send WAV or AIFF only. No MP3s or other compressed formats - they remove important audio detail and limit what we can do. The only exception is if MP3 is the only version you have left; in that case, we’ll do our best.

How much headroom should my mix have for mastering?

We don’t work to strict loudness targets, but we do need enough headroom to master your track properly. As a general industry guideline, final mixes should be delivered at around –6 dB, which gives us the space we need to apply creative and technical processing during mastering.

If your track is already hitting 0 dB, we have no space to work without causing distortion. Headroom ensures we can adjust EQ and dynamics properly. Often, no headroom means limiters or compressors were left on the master bus — which leads to the next point.

Can I leave the limiter and compressor on the master bus?

Please remove all limiters and compressors from your master bus before exporting your mix. If the file is already heavily limited, we can’t make meaningful improvements.

If you’ve already tried mastering it yourself, that’s fine — send us your version as a reference only, but send a clean, unprocessed version for us to actually master.

What about dithering?

Supply your tracks without dithering. It's up to the mastering engineer to decide which dithering to apply depending on your tracks.

What about reference tracks?

Reference tracks should be high‑quality MP3 or better. The clearer the reference, the more accurately we can match loudness, tone, and overall vibe.

Why are mastering rates not listed on this site?

Email us at contact@masteringalliance.com to receive a quote tailored to your project. Pricing varies based on the type of work, the deliverables you need, and the engineer assigned to your project.

Who takes payments for the work carried out?

Mastering Alliance™ is a marketing hub for its member engineers, not a business entity. Clients do not pay Mastering Alliance™; all payments are made directly to the engineers through their own independent studios. For more information visit the About page.

BEST PRACTICES

(What we expect from you before we can master)

1. Clean Edits & Fades

Make sure your mix has:

• No pops

• No clicks

• Clean fade‑ins and fade‑outs

Mastering is not the right stage to fix editing issues. If we try to repair them, it can harm other parts of your mix.

2. Leave Extra Space at the Start & End

Please leave a little room before the song starts and after it ends. If the file cuts off abruptly, the ending will sound chopped. Think of it like a haircut - you can always trim more, but you can’t add it back.

3. Do Not Send Session Files

Send lossless files only (WAV or AIFF), not DAW sessions. Mastering is different from mixing, and we don’t adjust individual tracks.

If we hear something in your mix that will cause problems in mastering, we’ll let you know and suggest how to fix it before we proceed.

Example 1: If we try to fix harsh “S” sounds on the vocal, we might also dull the snare or hi‑hat. It’s always better to fix mix issues before mastering.

Example 2: We discover that the main vocal becomes buried during choruses. We cannot just turn the main vocal track up in a master without affecting the overall stereo track. Therefore, it's best to make that adjustment in the mix and resend.

Additional important information to help you plan your release efficiently and avoid unnecessary delays

ISRC Codes - What They Are & How to Get Them?

ISRC codes (International Standard Recording Codes) are 12‑digit IDs that uniquely identify each individual recording. They’re used to track sales, streams, radio play, and royalties.

Most digital distributors require ISRCs to sell your music online. They are not the same as UPC codes, which are used for physical products like CDs or vinyl.

For independent artists releasing only for streaming/downloads:

If you don’t already have ISRC codes, that’s absolutely fine. Your digital distributor (such as DistroKid, TuneCore, CD Baby, or similar services) will automatically generate them for you when you set up your release in their portal. Mastering engineers do not need to know these codes upfront, before mastering your music. However, if you need MP3 files for radio promotion ahead of official release, you should provide your ISRC codes so the mastering engineer can embed the correct metadata. This ensures your tracks are properly identified and you don’t miss out on any airtime royalties.

If you want to find our more about ISRCs

To find out more about ISRC codes requirements for your specific project, please contact the entity in your country who is responsible for ISRC code management.

How to Find a Supplier

• If you are a record label or hold a large catalog: Apply through your country’s national agency to get a "Registrant Code".

• If you are an independent artist: Use your digital distributor (e.g., DistroKid, TuneCore).

• If you need one-off codes: Use specialized managers like ISRC.com or similar.

A full, up-to-date directory of all national ISRC agencies can be found on the https://isrc.ifpi.org/ site.

Apple Digital Masters (MFiT) - What They Are & Whether You Need Them

Apple Digital Masters (formerly Mastered for iTunes or MFiT) follow Apple’s specific guidelines to ensure your music sounds its best on Apple platforms.

They are optional. You can still release your music on iTunes/Apple Music without Apple Digital Masters.

Before requesting this format, check whether your distributor supports Apple Digital Masters.

UPC/EAN Codes: Their Purpose in Music Distribution

A UPC/EAN number is a unique barcode used to identify your release in retail and digital systems. It allows stores, distributors, and streaming platforms to track sales, inventory, and reporting for your album, single, or vinyl. Whether you’re releasing music physically or digitally, a UPC/EAN ensures your project is recognised as a distinct product in the global marketplace, making it essential for proper distribution and sales tracking.

DDP Files - What They Are & Why They Matter

A DDP (Disc Description Protocol) is the standard file format used for CD manufacturing. It contains everything needed to create a CD, including:

• CD‑Text

• ISRC codes

• UPC/EAN codes

If you plan to manufacture CDs, check with your distributor or pressing plant to confirm they accept DDP submissions. Many CD manufacturers now accept individual WAV or AIFF files instead of full DDPs, but they still require you to provide CD‑Text, ISRC codes, and UPC/EAN codes before they can produce CDs for commercial release. Some will provide a barcode included in the service, others will make you pay a small fee.

ISRC Requirements for Vinyl Manufacturing

For vinyl manufacturing, you’ll need to supply ISRC codes for each individual track on the record. These codes are embedded in the vinyl’s metadata during the cutting and production process, allowing performance rights organisations and digital reporting systems to correctly track plays, broadcasts, and royalties. Even though vinyl is an analogue format, ISRCs are still required for proper rights management and commercial distribution, so make sure you have them ready before submitting your masters to the pressing plant.

What if you have more questions around ISRC codes, DDP or physical copies?

Your assigned mastering engineer will be able to advise you further, so feel free to reach out to them directly.