Step-by-Step Guide
Remove the Limiter from Your Master Bus
Take off any limiter, maximizer, or clipper on the stereo bus. Leave your mix dynamic — the mastering engineer needs that headroom to work with.
Check Your Peak Levels
Your mix should peak between -6 dBFS and -3 dBFS. If it peaks above -1 dBFS, pull the master fader down. Never let it clip.
Bypass Any Master Bus Processing (If Asked)
Some mastering engineers want a dry mix. Others want your bus compression left on. Ask first — if unsure, send two versions: one with bus processing and one without.
Export at Your Session Sample Rate and 24-Bit or Higher
Export as WAV or AIFF at the sample rate you recorded in (usually 44.1 or 48 kHz). Use 24-bit or 32-bit float. Never dither before mastering.
Clean Up Silence and Noise
Trim dead air from the beginning, but leave a natural tail at the end. Remove clicks, pops, and any stray noise between sections that you may have missed.
Double-Check Fades and Transitions
Make sure all fades in and out are rendered into the file. Listen to the first and last 5 seconds carefully — abrupt starts and cuts are common oversights.
Label and Organize Your Files
Name files clearly: Artist_Song_Mix_v2.wav. Include BPM, key, and any notes. If sending stems, use consistent naming like Drums_Stem.wav, Vocals_Stem.wav.
Pro Tips
- Run a LUFS meter on your mix — if it reads above -10 LUFS integrated, your mix is probably too squashed for mastering.
- Listen to your mix in mono before exporting. Phase issues caught now save hours later.
- Send a rough reference of what you want the master to sound like — even a Spotify link helps the engineer understand your vision.
- If you used any sample-rate conversion plugins (like SRC in your DAW), double-check for artifacts at the top end.
Common Mistakes
Leaving the Limiter On
The most common mistake. Mastering engineers need dynamic range to work. A slammed mix gives them nothing to enhance.
Exporting as MP3
MP3 is a lossy format. Always export as WAV or AIFF. You lose quality that cannot be recovered during mastering.
Dithering Before Mastering
Dither is applied once — at the very final step. Adding dither before mastering introduces unnecessary noise that compounds.
The quick answers
How much headroom should I leave for mastering?
Aim for peaks between -6 dBFS and -3 dBFS. This gives the mastering engineer enough room to apply EQ, compression, and limiting without clipping.
Should I leave my bus compressor on?
If the bus compressor is integral to your mix sound, leave it on. If it is just a loudness boost, take it off. When in doubt, ask your mastering engineer or send both versions.
What sample rate should I export at?
Export at the same sample rate your session is recorded in. Do not upsample — converting from 44.1 kHz to 96 kHz adds no quality. Let the mastering engineer handle any conversion.
Do I need to send stems or just a stereo mix?
A stereo mix is standard. Only send stems if the mastering engineer requests them or if you are paying for a stem mastering service.