What Format Do Tracks Need to Be to Upload on Cdbaby

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This is an overview of main audio file formats you'll need depending on how you plan to release and distribute your music, and how well you want to optimize your audio for a given format.

Apple Music/iTunes Store, Spotify, Amazon HD, TIDAL, and Other Online Stores/Streaming Services

File Format: 24-fleck/44.1k Sample Rate (or college) WAV Files

I beginning wrote this article in 2022 and as of 2021, I tin now say that there is really only 1 main digital benefactor that yet has an arbitrary limitation of 16-flake/44.1k WAV files, and that is CD Infant. The rest of the digital distributors/aggregators now accept college resolution files which is cracking, peculiarly as streaming services are starting to offer lossless and high resolution streaming.

Other than CD Baby, the residuum of the principal digital distributors such as DistroKid, The Orchard, and TuneCore all have 24-bit WAV files, and they tin be college sample charge per unit files than 44.1k if bachelor from the mastering session. In that location are a growing number of smaller boutique distributors/aggregators as well, also many to keep rails of. They should all have their file specifications listed on their website but about all of them now have 24-bit/44.1k (or higher) sample rates which is great.

Master WAV files should come directly from the mastering session, and should accept never been on an audio CD or in mp3 format. They should not exist altered in whatsoever mode later on existence reduced to 24 or xvi-chip and should exist ready for distribution "as is". If changes are needed, it's always best to contact whoever did the mastering so these changes tin be made from the best possible source, and checked over again for quality and accurateness before being uploaded.

These files will be submitted to an aggregator (benefactor) such as DistroKid, CD Baby or Tunecore, to distribute your music to a variety of online stores and streaming services of your option. Be aware that if ample meridian-headroom is not present on these WAV masters, you may experience clipping or overs when the masters are converted from WAV to AAC, mp3, and other data-compressed formats used by most online stores and streaming services. The old standard of -0.2dB peak headroom from the CD era is usually non enough to prevent potential issues downstream. More on this below.

Just be aware that if y'all exercise submit higher sample rate WAV files, in some cases, the audio volition be reduced to 44.1k sample rate by the streaming service. There is no fashion to make a blanket argument well-nigh whether this is skillful or bad considering it will vary from service to service depending on the software and practices used to do that. However, as lossless and high 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 have available from the mastering session. If you are cocky-mastering, this doesn't mean you should export your master files at the highest sample rate your DAW/sound software allows (usually 192k), this means y'all should simply proceed the audio at the same sample rate as the recording, mixing, and mastering session if information technology's higher than 44.1k. At that place is no need to reduce to 44.1k but for digital distribution anymore.

Others do non trust streaming services to properly downsample the sound when needed and argue that submitting 16 or 24-fleck/44.1k WAV is best, or at least safest considering the mastering engineer volition accept ideally used the best sounding sample charge per unit conversion they have available. I personally think we're at a point where information technology is safe in nearly cases to upload sample rates higher than 44.1k if bachelor which aside from probable sounding better when streamed in mp3/lossy formats, also means your project will exist available to stream in high resolution for those who desire to, if their streaming service of choice offers information technology.

One concerning thing about DistroKid is that they as well have mp3 files as masters, which is non good. Fifty-fifty if the mp3 (or AAC/m4a) file that yous submit sounds OK, it will surely sound bad later information technology's reduced in quality again (known equally transcoding) past the streaming service or digital retailer. Usually the most obvious effect is swirly and garbled sounding high frequencies. This is why it'southward 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 available in "Main Quality", meaning TIDAL users can stream high-resolution versions at sample rates higher than 44.1k in a propriety format called MQA. The ability for independent artists to participate in MQA is severely express, and many mastering engineers are still in the dark nigh this process. At this time, nosotros are in the very early stages of MQA and it remains to be seen where it will get, or if information technology will grab on. To acquire more almost MQA, click here.

Later on watching THIS video, you may exist skeptical of MQA.

DistroKid now offers an selection for independent bands/artists to have their anthology available as MQA. As high resolution and lossless streaming from Apple tree Music, Amazon, and others becomes the norm, I think MQA volition slowly fade abroad.

Apple tree Digital Masters

File Format:24-bit/96k, 88.2k, 48k, or 44.1k Sample Rate WAV Files

Some distributors offer Apple tree Digital Masters (formerly Mastered For iTunes) versions of releases. This means you can submit 24-scrap WAV files, at sample rates higher than 44.1k to your distributor for them to laissez passer on to Apple Music. Apple Digital Masters is not a completely separate master, information technology's based on your main digital chief but with a few adjustments to optimize specifically for the Apple Music AAC format. The master files must follow other guidelines specified past Apple tree that certified "Mastered For iTunes" mastering studios are enlightened of. You must apply an Apple approved mastering studio in society to be eligible for an official Apple Digital Masters release. Y'all may take to set up and pay for a divide 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 remember Apple Digital Masters volition slowly fade away as most of this specification and concept is covered past simply submitting 24-bit and college sample rate master files which can easily exist washed now. This wasn't the case years ago when Mastered For iTunes/Apple 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-flake, and at college sampler rates than 44.1k if available from the mastering engineer, which could brand for better sound quality on the resulting information-compressed files such as mp3s. Yous can also allow users to download your original higher resolution masters, or information-compressed mp3s of smaller size if they adopt. Be aware of possible clipping and overs that can occur afterwards conversion to mp3 and other information-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 prepare) is the all-time, quickest, and easiest way to transmit a CD master to the CD manufacturer from a mastering engineer's standpoint. A DDP master can be easily sent via the Internet, just some pocket-size duplication orders may still require a physical audio CD-R master. A CD-R master is ideally burned by your mastering engineer and then tested for burn down/write errors earlier shipping to the CD manufacturer. Check with your CD manufacturer to see if DDP works for them (because they are widely considered to be more reliable than CD-R), or if a physical CD-R master is needed. More info on DDP is found below.

Vinyl

File Format: 24-flake WAV Files (sample rates higher than 44.1k if available)

The WAV files for your vinyl pre-master can be at the native sample rate of your original mixes and/or mastering session (pregnant college than 44.1k/CD quality). Creating a unmarried WAV for each side of the record will ensure that no changes with the infinite and timing between songs tin can occur at the lacquer cutting stage. Most lacquer cut engineers and pressing plants seem to adopt receiving one file per anthology side, but not all. Sonic adjustments are often made past the digital mastering engineer to optimize for the vinyl format before sending it off to the pressing institute or lacquer cutting engineer.

This procedure can make or interruption the sound quality of your vinyl. Mostly speaking, while it tin be done, loud digital masters exercise not interpret well to vinyl so it's usually a great idea to have a special vinyl pre-master fabricated. What usually doesn't work is sending your digital primary files to another mastering engineer to primary them for vinyl, or brand them more than vinyl friendly.

Your original digital mastering engineer should exist familiar with how to optimize the audio of your vinyl pre-master for the lacquer cutting (or DMM) engineer to practice their best work. If non, finding a digital mastering engineer that has the experience preparing vinyl pre-masters would be beneficial. At that place are a lot of variables related to vinyl audio quality, 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'due south also important to provide a cue sail for each vinyl side, and then the cutting engineer knows where to place the visual "bands" that indicate where each song starts on the vinyl itself. Most mastering software (east.one thousand. WaveLab) can create a PDF report to betoken where the track markers are located for both sides of the vinyl, which is essential.

Cassette

File Format: sixteen-scrap WAV Files (sample rates college than 44.1k in some cases)

Most cassette manufacturers usually inquire for 16-fleck/44.1k audio though some boutique articles may be able to work with higher flake-depth and sample rate audio files. Creating a single WAV for each side of the cassette (or "plan") volition assistance ensure that no changes with the space and timing between songs can occur.

When sending a WAV file for each side of the cassette, it'due south also of import to provide a cue canvass for each side/program, so the manufacturer knows what is intended to be on each side/program of the cassette. Nigh mastering software tin create a PDF study to betoken where the track markers are located for each side/program of the cassette.

It'southward difficult to optimize the audio for cassette in great detail considering the mastering engineer is rarely enlightened of what blazon of cassette tape is existence used for a given project. That existence said, THIS is a great overview of mastering for (or to) cassette in 2022 and beyond.

Download Cards

File Format: mp3 (or any you want users to download )

This is one situation where mp3 files are usually preferred when it comes to delivering your masters. Virtually download card services simply host the files y'all deliver to them and don't exercise whatsoever further conversions or data compression like the streaming services do. Cheque your download carte service for specifics.

It'south a skilful 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. Virtually mastering engineers tin easily do this from their mastering software if you provide the info to them alee of time.

I've also found that my mastering clients like to receive reference mp3 files with all the metadata and artwork embedded to use for sharing straight with friends, family, and for promotional utilize so mp3s have become a part of my standard delivery once a project is canonical.

Some audiophiles may prefer to take 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-bit/44.1k

This is a tricky i. Most video editors work at 48k because this is more or less the standard for video product. However, YouTube suggests that audio for music videos be delivered at 44.1k and 24-fleck. xvi-bit is acceptable but 24-bit will likely produce a ameliorate end result. Besides, depending on the playback device, the sound might play dorsum at 44.1k, or 48k sample rate.

This means that your audio is likely to have the sample rate converted at some point after information technology leaves the mastering studio. The important takeaway hither is to minimize the amount of sample rate conversions your audio will be subject to past delivering masters at the same sample rate the video editor will work at. You desire to avoid having the video editor convert your 44.1k WAV masters up to 48k using subpar video software, merely to have it become dorsum down to 44.1k in some cases.

Be mindful of the delivery specs for YouTube (or whatsoever video platform you are using) when the video editor makes their concluding export. Avert using mediocre sample charge per unit conversion algorithms that are often found in video editing software, or basic DAWs like Pro Tools, Logic, etc. iZotope RX has corking sample rate conversion, and well-nigh mastering engineers take "mastering grade" sample rate conversion software which can produce better results.

Because your audio for video is likely to encounter some sample charge per unit conversions and data-compression, I highly recommend leaving a full dB of pinnacle-headroom for loud/dense music to avoid any clipping or distortion due to the conversion processes. Some people make the argument of making a less limited version for video use since YouTube will turn down loud music videos anyway, which y'all tin can check Hither.

If you lot are adamant to accomplish the best audio quality on YouTube, I suggest reading this forum thread that gets into the effectively details.

Side Notation: I've mastered a number of songs where upon checking the video, the sound is in mono, or the level has inverse for some reason. Video editors are not always audio wizards and sometimes when they import the mastered sound or export the final video, things can get incorrect. If you have the chance, I propose checking the principal video file before information technology gets posted for any audio issues.

Instagram/Facebook/Social Media

Much like YouTube, the variables for about socials media posts are kind of a mess but at this time, the audio is usually converted to mono in a careless style on social media services/apps. This means that audio mastered very loud (which is near modern music) tin can very easily distort and sound bad on social media.

If you 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. Y'all may desire to cheque your mixes and masters in mono to see how this translates.

I also suggest checking the audio of your video/post correct away to make certain it sounds acceptable before others start to hear information technology.

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 you plan to distribute it. Yet, the well-nigh mutual audio format for video employ is 24-bit/48k WAV, though 24-scrap/96k is condign more common certain types of releases. Although the sound can exist resampled down the line as needed, if yous're serious about submitting your music to be licensed in video productions, you'll want to ask your mastering engineer for 48k WAV versions of your masters. This is especially true if you have also mastered instrumental versions of your songs, which nigh ordinarily become licensed.

Acquiring 48k versions of your masters and instrumentals from your mastering engineer should ensure the best sound quality as the audio is less probable to be resampled or converted down the line with potentially subpar sample rate conversion software. Information technology's besides useful to have 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) tin 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 every bit ISRC codes, songwriting, publishing, etc.

Exceptions & Notes

Always showtime with the highest resolution file available and acceptable for the format in which you are distributing your music. Upwards-sampling a 44.1k WAV file to 96k does not add any audio quality to your file and tin actually make information technology sound worse if washed using non-mastering form software. Converting an mp3 to WAV does not "add the total resolution dorsum". Once a file size is reduced and encoded to mp3 or AAC, yous must go back to the source to retain the quality of your original master.

You should not convert mp3s into WAV files in order for them to be used for online distribution. Once a WAV file has been reduced to mp3 or AAC, the integrity and sound quality is gone forever. An mp3 is to audio every bit a grainy, pixilated image is to photography. One time the data is stripped from a high-resolution file, information technology cannot exist brought back.

Fifty-fifty though you can technically convert an mp3 back into a WAV file, you lot will still have a loss in quality compared to the original WAV file. This loss of quality is especially noticeable in the high frequencies, resulting in a swirly, underwater sound depending on the size and bit-rate of the mp3. Fifty-fifty if you lot don't discover 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 again past the streaming service, iTunes Shop, Bandcamp, SoundCloud, etc.

The same is true regarding 24 and xvi-bit files. One time a file is reduced to 16-bit, it can't be successfully converted back to 24-fleck. The information is lost. This is why the files you receive from your mastering engineer should require no farther processing or adjustments. They should exist 100% set for distribution and production "as is".

File tagging and online distribution: Technically, WAV & AIFF files tin comprise a off-white amount of metadata as well as the artwork, just the ability for most consumer software and media players to read that metadata and artwork is limited. Later on your mastering engineer provides WAV files for uploading to online distribution and streaming services, even if they take tagged those files with metadata, wait to submit the artwork and other metadata separately as you submit the audio files for online distribution. The distribution service yous utilise will handle the metadata tagging that is seen past the end user based on the info you enter, and what is supported past the finish file format. Some services such every bit TIDAL and Spotify are starting to show performance and production credits which is nice.

Each private store and streaming service has its ain file specs for files that the end user purchases or streams, but they are all commonly generated from the aforementioned WAV file that yous submit to your aggregator. With most aggregators, you tin can choose to distribute your music via iTunes Store/Apple Music, Amazon, Qobuz, Spotify, TIDAL, and the listing keeps growing. There's no reasonable way to optimize your audio uniquely for them all, but you and/or your mastering engineer tin can take care to be sure your mastered WAVs are optimized for the principal stores which should interpret well to nearly all.

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The most universal concept is to leave enough peak-headroom to avert clipping subsequently the streaming services convert your primary WAV files to a lossy format (mp3, AAC, etc.). Nigh mastering engineers are now familiar with this concept just 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 height-headroom on your principal WAV files can help preclude clipping and overs when the WAV masters are reduced to a data-compressed format, which is inevitable. There are tools such as Sonnox Pro Codec to assist you know how much headroom you'll demand to get out on your files to avoid clipping. However, setting the output ceiling of your limiter to -1dB, -0.5dB, or somewhere lower then 0dB is probably a practiced balance between safety and loudness for about applications.

That beingness said, a lot of big releases and high profile mastering engineers are not doing this and just letting the master WAVs hitting 0dB. Whether or not you can hear the distortion when streamed or if it's a bad thing is subjective. However, from a technical standpoint, if y'all want to avoid any clipping or potential distortion when the master WAV files are converted to lower quality audio for streaming, a little headroom can assist.

Some popular aggregators in the United states are The Orchard, CD Baby, DistroKid, and Tunecore. You upload your master WAV files and project details to the aggregator just one fourth dimension, and they take care of the details regarding getting your music into the distribution channels of your choice.

DDP (Disc Description Protocol): A DDP image is basically a digital epitome of a meaty disc that contains all the audio, runway IDs, CD-Text, and ISRC codes. DDP is not prone to errors that can occur with physical CDs (and CD-Rs) such as skips, scratches, and read/write errors. This is in office why it'south best to use a DDP image for your CD production primary rather than a concrete CD-R. Nearly professional mastering software can export a mastered project to DDP format very easily. The DDP tin be sent in for CD production via the Internet, either by uploading to the website/FTP of the CD manufacturer or past providing a direct download link to your salesperson.

DDP is also useful for auditioning a final main to be certain you're hearing the exact audio quality and song/track sequencing as intended by the mastering engineer, considering it rules out any errors that tin can oft occur when working with individual WAV or mp3 files and manually assembling them in iTunes or other consumer media players. Most audio playback and CD called-for software programs have settings for adding extra space between tracks, and some programs accept settings that can change the sound quality and overall levels which tin exist easy for users to overlook, resulting in an inaccurate listening experience.

Information technology is not recommended to submit individual WAV files for CD production. This can pb to issues with song sequencing, incorrect CD-Text, lack of CD-Text, and in some cases the sound itself tin can be contradistinct if files are handled improperly.

Information technology's easy these days for mastering studios and engineers to provide a complimentary DDP Thespian with a DDP master in order for clients to audition and approve a master on their Mac/PC, or iOS device. This is ideal considering the listener will exist 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 can be purchased for roughly $ten (USD) which is suggested if the mastering engineer can only supply a DDP image, but not a gratis actor to audition the DDP. DDP is especially useful when the mastering engineer and client are not in the same location because a DDP file can be transmitted via the Internet quite hands.

Still, nearly mastering engineers volition supply a DDP file with a complimentary DDP Thespian for approving.

ISRC (International Standard Recording Code): An ISRC code is a digital fingerprint for each of your songs which helps keep runway of airplay and other ways your music can generate royalties and credits. ISRC codes are non essential for CD and vinyl releases, but your songs will need ISRC codes in guild to be sold on the iTunes Store, every bit well as other online distribution channels and streaming services.

Some aggregators can generate ISRC codes for you lot if needed when you prepare online distribution. However, if yous are also doing a CD release, yous may want to have the ISRC codes generated before finalizing your CD master and so the codes can besides exist on the physical CDs. Some mastering studios offering ISRC lawmaking generation, and yous 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-master is ane 24-bit (or 32-chip 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 sound masters be sent on an audio CD-R.

Sound CD-R is limited to 16-bit/44.1k sample rate, and is generally not a adept way to submit, transfer, or shop a master. Only use an audio CD-R for vinyl production if absolutely necessary due to manufacturing limitations. Information technology's recommended to utilize a manufacturer and/or lacquer cut engineer that can work directly with your 24-flake/native sample rate WAV files for vinyl projects.

Using a 3rd party lacquer cutter can greatly improve your last production. Lacquer cutting is the first and arguably the most important footstep in the vinyl process afterwards your primary leaves the original mastering studio. You lot typically have a more open line of communication with a 3rd party lacquer cutting engineer vs. an in-business firm lacquer cutter at a pressing plant. This is a large reason why results are typically better when using a 3rd party lacquer cutter. It's also much cheaper and quicker to fix issues with your vinyl pre-master at the lacquer cutting stage rather than at the test pressing stage if bug arise.

Typically, when working straight with a pressing constitute for your unabridged vinyl society, you don't become to hear anything until the exam pressing is ready, which is essentially the last i/3 of the vinyl process. This means that any fixes volition likely require major back-tracking and could be costly and delay your lodge.

When using a tertiary party lacquer cutter, once you lot corroborate the reference lacquer, the product lacquer(s) are cut and shipped off to the pressing found of your option for the remainder of the process — possibly with a stop in between for metal plating depending on who yous are working with for the actual pressing. Using a "one-stop shop" or broker for vinyl can certainly be easier and less overwhelming, but you tend to meet a wider variety of audio quality depending on who you cull to work with. If using a broker for a vinyl order, it's a practiced idea to ask who is doing the lacquer cutting and record pressing to be sure they are using one of good quality.

You will besides want to be aware of how long your sides are for vinyl releases. Depending on the size of the record (7", x", or 12"), and the speed (RPM), yous will be express 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 every bit we have with a compact disc. Each pressing plant and lacquer cutter has their own suggested maximum times for sides, but by and large speaking, sides will sound improve the shorter they are, and curt sides can usually be cut louder than long sides. Long sides are susceptible to distortion (inner groove distortion), graininess near the end of the sides, and the overall level of the sides will likely be on the tranquillity side. Some manufacturers volition not guarantee audio quality later exceeding a sure fourth dimension.

THIS is my favorite guide for suggested vinyl run-times.

For the vinyl pre-master, it may exist 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 unabridged record, so creating the shortest, most even sides will produce the all-time results in most cases. Low-frequency content too plays a function in how loud the record can be cut. About digital mastering engineers are knowledgeable near what volition work and what won't when it comes to low-frequency content and will usually brand adjustments to the low end as well as any high-frequency problems such as song sibilance or overly bright cymbals.

Skilled lacquer cut engineers can sometimes produce good sounding records at long lengths, merely the results usually vary depending on the source material and person doing the cutting work. Maximum times for sides are posted for a reason and should exist taken seriously if you care about the sound quality of your vinyl.

Y'all can read an article I wrote nigh the importance of lacquer cutting for vinyl by clicking hither.

Apple tree Digital Masters: Merely mastering studios that have been certified by Apple are immune to provide masters for Apple Digital Masters releases. What Apple Digital Masters means is that your digital benefactor is submitting your mastered WAV files to the Apple tree Music at 24-bit, and the highest sample rate bachelor for your projection. Up-sampling a sixteen-bit/44.1k chief to 24-bit/96k volition non be beneficial, merely if your mastering engineer can provide loftier sample charge per unit, 24-scrap masters, an Apple Digital Masters release may be worth considering.

The other important stride in the Apple Digital Masters process is that the master is auditioned through a special encoder to be sure that information technology will not clip or contain overs when converted to AAC for distribution via Apple Music. Without leaving the proper amount of headroom on loud digital masters (as most are these days), information technology's fairly 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 fabric, how loud it'south mastered, and other variables controlled past the mastering engineer. This is why careful testing must have place for each song within each projection to qualify as Mastered For iTunes compatible. Every second of every song must be analyzed through the encoder to test for overs and the proper headroom must be set to avoid these overs throughout the form of the song, or complete anthology. Offline encoder checking via Sonnox ProCodec is, in my stance, the best way to check for post-encoding overs with repeatable results. Using tools that run in existent-time on playback do not provide repeatable results when it comes to overs.

The most common method to prevent 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 sure point in lodge to go out enough headroom for the file conversion and data pinch process. Back when CDs were the primary digital format, the standard setting for a digital limiter's output ceiling was -0.2dB, to preclude distortion with cheaper CD players and playback components. It was eventually discovered that -0.2dB is not enough headroom to preclude clipping when loud masters are converted to compressed formats such as mp3 and AAC. It's becoming more popular to lower the final limiter output ceiling to as low as -1.0dB to forbid clipping and overs when the file is converted to a compressed format. Once again, the actual clipping instances volition depend on the variables of the material and how it's mastered. Typically, you want to lower your output ceiling every bit little every bit needed, but just enough to forestall these overs when converted to mp3 or AAC. The optimal setting is dependent on your specific material and the target compressed format. Lower quality mp3s tend to clip more than easily than higher quality mp3s.

There are a variety of tools that a mastering engineer tin apply to know how a master volition react to a sure mp3 or AAC encoding. Some popular options are Sonnox Fraunhofer Pro-Codec, Sonnox Codec Toolbox, the Encoder Checker that is now congenital into WaveLab, iZotope Ozone, NUGEN MasterCheck Pro, as well every bit tools and droplets provided for free past Apple. Still, the tools provided by Apple are Mac/OSX only. The Sonnox ProCodec plugin comes in in VST, AAX, RTAS, and AU formats so they can run within a number of sound software applications on both Windows and Mac OSX. Sonnox Codec Toolbox has standalone version as well that can run on its own outside of any other audio software. This is my preferred method of testing considering of the offline encoding option which gives you 100% repeatable results.

If you practice not wish to do an official Apple Digital Masters release, it doesn't injure to comply with equally many of the guidelines every bit possible. Even if yous only choose to submit 16 or 24-bit/44.1k WAV files to your benefactor/aggregator, you can notwithstanding take your mastering engineer exist sure that there is enough headroom in the WAV files you submit to avert clipping and overs after the lossy encoding process. This can issue in a more pleasing sounding file for the end user that purchases or streams your music via Apple Music, equally well equally other stores and streaming services.

The Apple Digital Masters theory tin exist practical to nearly of the online distribution channels as well. Even so, it's non always clear what format your WAV file gets converted to after y'all upload it. There is not a realistic way to test exclusively for all the various encoders your music could come across. It'south important to communicate to your mastering engineer, how and where you plan to distribute your music, and read the fine impress on the file specifications for any given distribution service.

Why doesn't iTunes recognize my CD info?

If you're wondering why iTunes or other music playback software on your calculator will not recognize song titles, creative person proper noun, album proper name, cover art and other info when you insert your audio CD, please run across this article.

Justin Perkins

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Source: https://theproaudiofiles.com/audio-mastering-format-and-delivery-guide-2014/

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