What Is the Best File to Upload to Cdbaby
Article Content
This is an overview of master audio file formats y'all'll need depending on how yous programme to release and distribute your music, and how well y'all want to optimize your audio for a given format.
Apple Music/iTunes Store, Spotify, Amazon Hard disk drive, TIDAL, and Other Online Stores/Streaming Services
File Format: 24-flake/44.1k Sample Rate (or higher) WAV Files
I get-go wrote this article in 2014 and as of 2021, I can at present say that there is really only one main digital distributor that nonetheless has an capricious limitation of sixteen-scrap/44.1k WAV files, and that is CD Baby. The balance of the digital distributors/aggregators at present accept college resolution files which is great, especially equally streaming services are starting to offering lossless and loftier resolution streaming.
Other than CD Baby, the residue of the main digital distributors such as DistroKid, The Orchard, and TuneCore all accept 24-chip WAV files, and they tin can be higher sample charge per unit files than 44.1k if available from the mastering session. There are a growing number of smaller bazaar distributors/aggregators too, as well many to go on track of. They should all have their file specifications listed on their website just near all of them now take 24-flake/44.1k (or higher) sample rates which is great.
Primary WAV files should come up directly from the mastering session, and should take never been on an audio CD or in mp3 format. They should not exist altered in whatever way later being reduced to 24 or 16-bit and should be fix for distribution "equally is". If changes are needed, it's always best to contact whoever did the mastering so these changes tin can exist fabricated from the best possible source, and checked over again for quality and accurateness before being uploaded.
These files will be submitted to an aggregator (distributor) such as DistroKid, CD Baby or Tunecore, to distribute your music to a variety of online stores and streaming services of your pick. Be aware that if ample peak-headroom is not nowadays on these WAV masters, you may feel clipping or overs when the masters are converted from WAV to AAC, mp3, and other data-compressed formats used past about online stores and streaming services. The one-time standard of -0.2dB top headroom from the CD era is usually not enough to prevent potential issues downstream. More than on this below.
Just be aware that if you do submit higher sample charge per unit WAV files, in some cases, the sound volition be reduced to 44.1k sample rate by the streaming service. At that place is no way to make a coating statement nearly whether this is practiced or bad because it will vary from service to service depending on the software and practices used to do that. However, as lossless and loftier resolution streaming is becoming more common, those who are serious nigh audio fidelity may want to upload the highest sample rate master WAV files they accept available from the mastering session. If you are self-mastering, this doesn't mean you should export your chief files at the highest sample rate your DAW/audio software allows (normally 192k), this means y'all should simply go along the audio at the same sample rate as the recording, mixing, and mastering session if information technology's higher than 44.1k. There is no demand to reduce to 44.1k just for digital distribution anymore.
Others do not trust streaming services to properly downsample the sound when needed and argue that submitting 16 or 24-bit/44.1k WAV is best, or at least safest because the mastering engineer will have ideally used the best sounding sample rate conversion they have available. I personally think we're at a bespeak where it is safe in about cases to upload sample rates higher than 44.1k if available which aside from likely sounding improve when streamed in mp3/lossy formats, besides means your project will be available to stream in high resolution for those who want to, if their streaming service of choice offers information technology.
1 concerning thing about DistroKid is that they also accept mp3 files as masters, which is not adept. Even if the mp3 (or AAC/m4a) file that yous submit sounds OK, it will surely sound bad after information technology's reduced in quality again (known as transcoding) by the streaming service or digital retailer. Ordinarily the most obvious consequence is swirly and garbled sounding high frequencies. This is why it's important that you lot're submitting true WAV files that have never been reduced to mp3/AAC/m4a or other low quality formats.
TIDAL: At the time of this writing, some songs and albums on TIDAL are bachelor in "Primary Quality", meaning TIDAL users can stream loftier-resolution versions at sample rates higher than 44.1k in a propriety format chosen MQA. The ability for independent artists to participate in MQA is severely limited, and many mastering engineers are still in the dark most this procedure. At this time, we are in the very early stages of MQA and it remains to be seen where it volition go, or if it volition catch on. To learn more about MQA, click hither.
Later watching THIS video, you may be skeptical of MQA.
DistroKid now offers an option for contained bands/artists to have their album available equally MQA. As high resolution and lossless streaming from Apple tree Music, Amazon, and others becomes the norm, I call up MQA volition slowly fade away.
Apple Digital Masters
File Format:24-bit/96k, 88.2k, 48k, or 44.1k Sample Charge per unit WAV Files
Some distributors offering Apple Digital Masters (formerly Mastered For iTunes) versions of releases. This means y'all can submit 24-scrap WAV files, at sample rates college than 44.1k to your distributor for them to pass on to Apple Music. Apple Digital Masters is not a completely separate master, it's based on your main digital master merely with a few adjustments to optimize specifically for the Apple tree Music AAC format. The chief files must follow other guidelines specified by Apple tree that certified "Mastered For iTunes" mastering studios are aware of. You must use an Apple tree canonical mastering studio in order to be eligible for an official Apple tree Digital Masters release. You may have to ready and pay for a carve up Apple tree Digital Masters version of your release. Check with your online distributor/aggregator for specific details.
As loftier resolution and lossless streaming from Apple Music, Amazon, and others becomes the norm, I think Apple tree Digital Masters will slowly fade away as nearly of this specification and concept is covered by simply submitting 24-bit and college sample charge per unit master files which can easily be washed now. This wasn't the case years ago when Mastered For iTunes/Apple tree Digital Masters was conceived which is why it was unique at the time.
Bandcamp & SoundCloud
File Format: 24-bit/44.1k Sample Rate (or higher) WAV Files
Files uploaded to Bandcamp and SoundCloud can be 24-bit, and at higher sampler rates than 44.1k if available from the mastering engineer, which could make for better sound quality on the resulting data-compressed files such as mp3s. You can too allow users to download your original higher resolution masters, or information-compressed mp3s of smaller size if they prefer. Exist aware of possible clipping and overs that tin can occur later conversion to mp3 and other data-compressed formats by these websites and services. More info on this below.
Compact Disc (aka CD)
File Format: DDP Image or Sound CD-R Master
A DDP image (aka DDP file or file gear up) is the best, quickest, and easiest way to transmit a CD chief to the CD manufacturer from a mastering engineer's standpoint. A DDP principal tin can be easily sent via the Net, but some small duplication orders may still crave a concrete audio CD-R main. A CD-R master is ideally burned past your mastering engineer and and so tested for burn/write errors before aircraft to the CD manufacturer. Cheque with your CD manufacturer to run across if DDP works for them (considering they are widely considered to be more reliable than CD-R), or if a physical CD-R principal is needed. More than info on DDP is found below.
Vinyl
File Format: 24-bit WAV Files (sample rates higher than 44.1k if bachelor)
The WAV files for your vinyl pre-primary tin can exist at the native sample rate of your original mixes and/or mastering session (meaning higher than 44.1k/CD quality). Creating a unmarried WAV for each side of the record will ensure that no changes with the space and timing between songs can occur at the lacquer cutting stage. Most lacquer cutting engineers and pressing plants seem to adopt receiving one file per album side, but not all. Sonic adjustments are oftentimes fabricated by the digital mastering engineer to optimize for the vinyl format before sending information technology off to the pressing institute or lacquer cutting engineer.
This process tin can brand or intermission the sound quality of your vinyl. Generally speaking, while it tin be washed, loud digital masters practise not translate well to vinyl so it'south usually a nifty thought to accept a special vinyl pre-main fabricated. What unremarkably doesn't piece of work is sending your digital primary files to another mastering engineer to master them for vinyl, or make them more than vinyl friendly.
Your original digital mastering engineer should be familiar with how to optimize the audio of your vinyl pre-main for the lacquer cutting (or DMM) engineer to do their best work. If not, finding a digital mastering engineer that has the experience preparing vinyl pre-masters would be beneficial. There are a lot of variables related to vinyl audio quality, and then working with engineers familiar with the process is highly recommended. More info here.
When sending a WAV file for each side of the album, it's too important to provide a cue sheet for each vinyl side, and so the cut engineer knows where to place the visual "bands" that indicate where each vocal starts on the vinyl itself. Most mastering software (eastward.1000. WaveLab) can create a PDF report to point where the track markers are located for both sides of the vinyl, which is essential.
Cassette
File Format: xvi-bit WAV Files (sample rates college than 44.1k in some cases)
Virtually cassette manufacturers normally inquire for 16-chip/44.1k sound though some boutique articles may be able to work with higher bit-depth and sample rate audio files. Creating a single WAV for each side of the cassette (or "program") will help ensure that no changes with the space and timing between songs can occur.
When sending a WAV file for each side of the cassette, information technology'south also important to provide a cue canvas for each side/program, so the manufacturer knows what is intended to be on each side/programme of the cassette. Most mastering software can create a PDF report to indicate where the rail markers are located for each side/programme of the cassette.
It's hard to optimize the audio for cassette in groovy detail because the mastering engineer is rarely aware of what blazon of cassette tape is being used for a given project. That being said, THIS is a groovy overview of mastering for (or to) cassette in 2021 and beyond.
Download Cards
File Format: mp3 (or whatsoever you desire users to download )
This is one situation where mp3 files are usually preferred when it comes to delivering your masters. Nigh download menu services simply host the files you evangelize to them and don't do any farther conversions or information pinch similar the streaming services exercise. Check your download card service for specifics.
It'due south a good idea to fully tag your mp3 files with metadata so that when people download the files, they tin see all this info and artwork as they normally would if they purchased the songs from a digital retailer. Well-nigh mastering engineers tin easily do this from their mastering software if you provide the info to them ahead of time.
I've too found that my mastering clients similar to receive reference mp3 files with all the metadata and artwork embedded to use for sharing directly with friends, family, and for promotional apply so mp3s accept go a office of my standard commitment once a project is canonical.
Some audiophiles may adopt to have the option of downloading high-resolution WAV or FLAC files but typically, the average listener/fan would like mobile friendly mp3 files to download.
YouTube
File Format: 24-bit/48k WAV files or 24-chip/44.1k
This is a tricky one. Near video editors piece of work at 48k because this is more than or less the standard for video production. All the same, YouTube suggests that audio for music videos be delivered at 44.1k and 24-fleck. 16-bit is adequate but 24-flake will probable produce a better end result. Also, depending on the playback device, the audio might play dorsum at 44.1k, or 48k sample rate.
This ways that your audio is probable to have the sample charge per unit converted at some point after it leaves the mastering studio. The of import takeaway here is to minimize the amount of sample rate conversions your sound will be subject area to past delivering masters at the aforementioned sample rate the video editor will work at. You lot want to avoid having the video editor catechumen your 44.1k WAV masters up to 48k using subpar video software, but to take information technology go back down to 44.1k in some cases.
Exist mindful of the commitment specs for YouTube (or any video platform you lot are using) when the video editor makes their final export. Avoid using mediocre sample rate conversion algorithms that are often institute in video editing software, or basic DAWs like Pro Tools, Logic, etc. iZotope RX has great sample rate conversion, and most mastering engineers have "mastering class" sample rate conversion software which tin can produce better results.
Because your audio for video is likely to come across some sample rate conversions and data-compression, I highly recommend leaving a full dB of acme-headroom for loud/dumbo music to avoid whatever clipping or distortion due to the conversion processes. Some people make the argument of making a less limited version for video utilize since YouTube will turn downwards loud music videos anyway, which you can check HERE.
If you lot are determined to achieve the best audio quality on YouTube, I advise reading this forum thread that gets into the finer details.
Side Note: I've mastered a number of songs where upon checking the video, the audio is in mono, or the level has changed for some reason. Video editors are not always audio wizards and sometimes when they import the mastered audio or export the final video, things can go wrong. If you accept the chance, I suggest checking the master video file before it gets posted for any audio issues.
Instagram/Facebook/Social Media
Much like YouTube, the variables for virtually socials media posts are kind of a mess but at this time, the sound is commonly converted to mono in a careless way on social media services/apps. This means that audio mastered very loud (which is virtually modern music) tin very easily distort and sound bad on social media.
If yous are using social media to heavily to promote and share your music, I highly recommend reducing the level so the peaks are no louder than -3dB. You may desire to bank check your mixes and masters in mono to see how this translates.
I likewise propose checking the sound of your video/post right abroad to brand sure it sounds acceptable before others start to hear it.
Music Licensing
File Format: 24-bit/48k WAV files (with 320kbps reference mp3)
The proper format needed for licensing your music will ultimately depend on who licenses the music, and/or how y'all plan to distribute it. However, the nearly common audio format for video use is 24-flake/48k WAV, though 24-scrap/96k is condign more mutual certain types of releases. Although the audio can be resampled downward the line every bit needed, if you're serious about submitting your music to exist licensed in video productions, yous'll want to enquire your mastering engineer for 48k WAV versions of your masters. This is specially true if you have also mastered instrumental versions of your songs, which near commonly become licensed.
Acquiring 48k versions of your masters and instrumentals from your mastering engineer should ensure the best sound quality as the sound is less likely to be resampled or converted down the line with potentially subpar sample rate conversion software. It's besides useful to accept reference mp3s of your instrumentals for easy sending and auditioning of your music by potential licensing clients and music supervisors.
Having metadata embedded in your WAV (and reference mp3 files) can also be critical when used for music licensing so that whoever is using, or considering using the fabric has access to potentially critical details such as ISRC codes, songwriting, publishing, etc.
Exceptions & Notes
Always offset with the highest resolution file available and acceptable for the format in which yous are distributing your music. Upwards-sampling a 44.1k WAV file to 96k does not add any sound quality to your file and can actually arrive sound worse if done using non-mastering form software. Converting an mp3 to WAV does not "add the full resolution dorsum". One time a file size is reduced and encoded to mp3 or AAC, you must go dorsum to the source to retain the quality of your original master.
You lot should non convert mp3s into WAV files in lodge for them to be used for online distribution. Once a WAV file has been reduced to mp3 or AAC, the integrity and audio quality is gone forever. An mp3 is to audio as a grainy, pixilated prototype is to photography. One time the data is stripped from a high-resolution file, it cannot be brought dorsum.
Even though you can technically convert an mp3 back into a WAV file, yous will however have a loss in quality compared to the original WAV file. This loss of quality is particularly noticeable in the loftier frequencies, resulting in a swirly, underwater audio depending on the size and bit-charge per unit of the mp3. Fifty-fifty if you don't notice these artifacts on well-encoded mp3 or AAC files, you lot will certainly notice problems when the mp3 or AAC file you converted to WAV gets converted dorsum to mp3 or AAC once more past the streaming service, iTunes Store, Bandcamp, SoundCloud, etc.
The same is true regarding 24 and 16-bit files. In one case a file is reduced to xvi-bit, it can't be successfully converted back to 24-bit. The data is lost. This is why the files you receive from your mastering engineer should require no further processing or adjustments. They should be 100% ready for distribution and product "every bit is".
File tagging and online distribution: Technically, WAV & AIFF files can contain a fair amount of metadata as well as the artwork, but the ability for most consumer software and media players to read that metadata and artwork is limited. Later your mastering engineer provides WAV files for uploading to online distribution and streaming services, even if they have tagged those files with metadata, wait to submit the artwork and other metadata separately as yous submit the audio files for online distribution. The distribution service you utilize will handle the metadata tagging that is seen past the cease user based on the info you enter, and what is supported by the finish file format. Some services such every bit TIDAL and Spotify are starting to evidence operation and product credits which is nice.
Each individual shop and streaming service has its own file specs for files that the end user purchases or streams, but they are all usually generated from the same WAV file that you submit to your aggregator. With most aggregators, yous can choose to distribute your music via iTunes Store/Apple Music, Amazon, Qobuz, Spotify, TIDAL, and the list keeps growing. There'due south no reasonable style to optimize your sound uniquely for them all, just you and/or your mastering engineer can take care to be sure your mastered WAVs are optimized for the main stores which should translate well to nearly all.
The most universal concept is to leave enough peak-headroom to avoid clipping later the streaming services convert your master WAV files to a lossy format (mp3, AAC, etc.). Most mastering engineers are now familiar with this concept but for those who are self-mastering, or not familiar with this concept, here are a few tips:
Leaving up to a full decibel (dB) of meridian-headroom on your master WAV files tin help preclude clipping and overs when the WAV masters are reduced to a data-compressed format, which is inevitable. At that place are tools such as Sonnox Pro Codec to help y'all know how much headroom you'll need to leave on your files to avoid clipping. Withal, setting the output ceiling of your limiter to -1dB, -0.5dB, or somewhere lower then 0dB is probably a good remainder between safety and loudness for almost applications.
That beingness said, a lot of large releases and high contour mastering engineers are not doing this and just letting the main WAVs striking 0dB. Whether or not you can hear the distortion when streamed or if it'south a bad affair is subjective. Yet, from a technical standpoint, if y'all want to avoid whatsoever clipping or potential distortion when the master WAV files are converted to lower quality audio for streaming, a petty headroom tin help.
Some popular aggregators in the United states are The Orchard, CD Babe, DistroKid, and Tunecore. You upload your master WAV files and project details to the aggregator just one time, and they have care of the details regarding getting your music into the distribution channels of your option.
DDP (Disc Clarification Protocol): A DDP epitome is basically a digital image of a compact disc that contains all the audio, track IDs, CD-Text, and ISRC codes. DDP is not prone to errors that tin occur with physical CDs (and CD-Rs) such as skips, scratches, and read/write errors. This is in part why it'south best to utilize a DDP prototype for your CD production master rather than a concrete CD-R. Most professional mastering software can consign a mastered project to DDP format very easily. The DDP tin can be sent in for CD product via the Internet, either by uploading to the website/FTP of the CD manufacturer or past providing a straight download link to your salesperson.
DDP is also useful for auditioning a terminal master to be sure you're hearing the exact sound quality and song/track sequencing every bit intended by the mastering engineer, considering it rules out whatever errors that can often occur when working with individual WAV or mp3 files and manually assembling them in iTunes or other consumer media players. About sound playback and CD called-for software programs accept settings for adding extra space between tracks, and some programs have settings that can alter the sound quality and overall levels which can be piece of cake for users to overlook, resulting in an inaccurate listening experience.
Information technology is not recommended to submit private WAV files for CD production. This tin can lead to problems with song sequencing, wrong CD-Text, lack of CD-Text, and in some cases the sound itself can be contradistinct if files are handled improperly.
It's easy these days for mastering studios and engineers to provide a gratuitous DDP Player with a DDP master in order for clients to audience and approve a master on their Mac/PC, or iOS device. This is ideal considering the listener volition be listening to the exact aforementioned file that would be used for CD replication and most online distribution services.
HOFA makes a DDP Player that tin be purchased for roughly $10 (USD) which is suggested if the mastering engineer tin only supply a DDP image, merely not a complimentary actor to audition the DDP. DDP is particularly useful when the mastering engineer and client are non in the same location because a DDP file can exist transmitted via the Net quite easily.
Nevertheless, most mastering engineers volition supply a DDP file with a complimentary DDP Role player for approval.
ISRC (International Standard Recording Code): An ISRC code is a digital fingerprint for each of your songs which helps continue rail of airplay and other ways your music can generate royalties and credits. ISRC codes are not essential for CD and vinyl releases, but your songs volition demand ISRC codes in society to be sold on the iTunes Shop, as well every bit other online distribution channels and streaming services.
Some aggregators tin generate ISRC codes for you if needed when you set upwards online distribution. Even so, if you are also doing a CD release, yous may want to have the ISRC codes generated earlier finalizing your CD principal so the codes tin can also exist on the physical CDs. Some mastering studios offering ISRC lawmaking generation, and you can utilize via the ISRC website to be able to generate your own ISRC codes if you prefer. Fees may apply depending on your method of performance.
Vinyl: Ideally, your vinyl pre-principal is one 24-flake (or 32-bit floating point) WAV file for each side of the record, at the native sample rate of your mastering session. Some vinyl manufacturers may request that your audio masters be sent on an sound CD-R.
Audio CD-R is limited to sixteen-bit/44.1k sample rate, and is generally non a skilful way to submit, transfer, or store a principal. Only use an audio CD-R for vinyl production if absolutely necessary due to manufacturing limitations. It'south recommended to employ a manufacturer and/or lacquer cutting engineer that can work direct with your 24-bit/native sample charge per unit WAV files for vinyl projects.
Using a third party lacquer cutter can greatly improve your final product. Lacquer cutting is the starting time and arguably the about important footstep in the vinyl process afterwards your chief leaves the original mastering studio. You typically take a more open line of communication with a 3rd party lacquer cutting engineer vs. an in-house lacquer cutter at a pressing institute. This is a big reason why results are typically better when using a tertiary party lacquer cutter. Information technology'due south also much cheaper and quicker to fix bug with your vinyl pre-master at the lacquer cutting stage rather than at the test pressing stage if bug arise.
Typically, when working direct with a pressing plant for your entire vinyl guild, you don't get to hear anything until the test pressing is set, which is substantially the last 1/3 of the vinyl procedure. This means that any fixes will likely require major dorsum-tracking and could exist costly and delay your order.
When using a 3rd party lacquer cutter, once you approve the reference lacquer, the production lacquer(s) are cut and shipped off to the pressing plant of your choice for the residuum of the process — maybe with a stop in betwixt for metal plating depending on who yous are working with for the actual pressing. Using a "one-end shop" or broker for vinyl can certainly be easier and less overwhelming, but you tend to encounter a wider variety of audio quality depending on who y'all cull to piece of work with. If using a banker for a vinyl gild, it's a good thought to ask who is doing the lacquer cutting and tape pressing to be sure they are using one of skilful quality.
You will as well want to be aware of how long your sides are for vinyl releases. Depending on the size of the tape (7", 10", or 12"), and the speed (RPM), you will be limited to how long each side tin can be before the sound quality starts to be compromised. With vinyl, at that place are no hard time limits as we take with a compact disc. Each pressing plant and lacquer cutter has their own suggested maximum times for sides, but generally speaking, sides will sound improve the shorter they are, and short sides can usually be cut louder than long sides. Long sides are susceptible to baloney (inner groove distortion), graininess near the end of the sides, and the overall level of the sides will likely exist on the tranquillity side. Some manufacturers will not guarantee sound quality after exceeding a certain time.
THIS is my favorite guide for suggested vinyl run-times.
For the vinyl pre-chief, information technology may be worth removing songs from your album or shortening some songs to avoid long sides. The longest side usually determines the overall level and tone of the entire record, so creating the shortest, well-nigh fifty-fifty sides volition produce the best results in nearly cases. Low-frequency content too plays a part in how loud the record can be cutting. Most digital mastering engineers are knowledgeable well-nigh what will work and what won't when it comes to depression-frequency content and volition usually make adjustments to the low end equally well as any high-frequency bug such as song sibilance or overly bright cymbals.
Skilled lacquer cutting engineers can sometimes produce good sounding records at long lengths, but the results commonly vary depending on the source textile and person doing the cutting work. Maximum times for sides are posted for a reason and should exist taken seriously if you lot intendance about the sound quality of your vinyl.
Yous can read an article I wrote most the importance of lacquer cutting for vinyl by clicking here.
Apple Digital Masters: Simply mastering studios that have been certified by Apple are allowed to provide masters for Apple Digital Masters releases. What Apple Digital Masters ways is that your digital distributor is submitting your mastered WAV files to the Apple Music at 24-scrap, and the highest sample charge per unit bachelor for your project. Up-sampling a 16-bit/44.1k master to 24-flake/96k will not be benign, simply if your mastering engineer can provide high sample rate, 24-bit masters, an Apple Digital Masters release may be worth considering.
The other of import step in the Apple Digital Masters process is that the chief is auditioned through a special encoder to be sure that it will not prune or contain overs when converted to AAC for distribution via Apple Music. Without leaving the proper corporeality of headroom on loud digital masters (every bit most are these days), it's adequately easy for clipping or overs to occur when your loud mastered WAV files are converted to AAC, or other compressed formats such as mp3.
The severity of the clipping that occurs depends on the cloth, how loud it's mastered, and other variables controlled by the mastering engineer. This is why careful testing must accept identify for each song within each project to qualify every bit Mastered For iTunes uniform. Every second of every song must exist analyzed through the encoder to exam for overs and the proper headroom must be fix to avoid these overs throughout the course of the song, or complete album. Offline encoder checking via Sonnox ProCodec is, in my stance, the best way to bank check for post-encoding overs with repeatable results. Using tools that run in real-time on playback practice non provide repeatable results when it comes to overs.
The almost mutual method to preclude clipping and overs when your mastered WAV files are converted to a compressed format, is lowering the output ceiling of the final limiter in the mastering session to a certain point in society to go out enough headroom for the file conversion and information compression procedure. Back when CDs were the main digital format, the standard setting for a digital limiter'south output ceiling was -0.2dB, to forestall baloney with cheaper CD players and playback components. Information technology was eventually discovered that -0.2dB is not enough headroom to preclude clipping when loud masters are converted to compressed formats such every bit mp3 and AAC. It'south becoming more popular to lower the final limiter output ceiling to as low as -1.0dB to prevent clipping and overs when the file is converted to a compressed format. Again, the bodily clipping instances will depend on the variables of the material and how it's mastered. Typically, you desire to lower your output ceiling as piddling equally needed, but simply plenty to prevent these overs when converted to mp3 or AAC. The optimal setting is dependent on your specific cloth and the target compressed format. Lower quality mp3s tend to clip more than easily than higher quality mp3s.
There are a multifariousness of tools that a mastering engineer tin use to know how a master will react to a certain mp3 or AAC encoding. Some pop options are Sonnox Fraunhofer Pro-Codec, Sonnox Codec Toolbox, the Encoder Checker that is now built into WaveLab, iZotope Ozone, NUGEN MasterCheck Pro, besides equally tools and droplets provided for free by Apple. All the same, the tools provided by Apple are Mac/OSX but. The Sonnox ProCodec plugin comes in in VST, AAX, RTAS, and AU formats and then they tin run within a number of audio software applications on both Windows and Mac OSX. Sonnox Codec Toolbox has standalone version every bit well that tin run on its own exterior of any other audio software. This is my preferred method of testing because of the offline encoding choice which gives you 100% repeatable results.
If you exercise not wish to do an official Apple Digital Masters release, it doesn't injure to comply with as many of the guidelines every bit possible. Even if you merely choose to submit 16 or 24-flake/44.1k WAV files to your distributor/aggregator, you can nevertheless have your mastering engineer exist sure that there is plenty headroom in the WAV files you lot submit to avert clipping and overs after the lossy encoding process. This can result in a more pleasing sounding file for the end user that purchases or streams your music via Apple Music, every bit well as other stores and streaming services.
The Apple tree Digital Masters theory can be applied to most of the online distribution channels equally well. However, it's not ever clear what format your WAV file gets converted to subsequently you upload it. At that place is not a realistic way to test exclusively for all the diverse encoders your music could come across. It's important to communicate to your mastering engineer, how and where you plan to distribute your music, and read the fine print on the file specifications for whatever given distribution service.
Why doesn't iTunes recognize my CD info?
If you're wondering why iTunes or other music playback software on your computer will non recognize song titles, artist name, album proper noun, cover art and other info when yous insert your audio CD, delight see this article.
Source: https://theproaudiofiles.com/audio-mastering-format-and-delivery-guide-2014/
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