// [SOURCE_LOC // OXFORD_UK]MASTERING SPECIFICATIONS.
[PRTCL_VER // 4.07.26][PRTCL_ID // 201.1]FILE HANDLING & RESOLUTION.
BIT DEPTH: 24-bit or 32-bit Float is highly recommended. 16-bit files are acceptable only if they represent the native session resolution. Do not apply bit-depth downscaling or dithering during export.
SAMPLE RATE: Maintain native session resolution (44.1kHz up to 96kHz). If the project was tracked or produced at 44.1kHz, export at 44.1kHz. Do not upsample.
EXPORT LENGTH: Ensure all files are exported with sufficient padding at both the entry and exit points. Allow all front-end transients, trailing reverb tails, delay lines, and hardware decays to fade naturally into absolute silence. Do not clip the boundaries.
[PRTCL_ID // 201.2]HEADROOM & MASTER BUS.
THE -6dB RULE: Aim for the master stereo track to peak no higher than -6 dBFS. This preserves essential digital headroom for optimum dynamics and final tonal balancing.
LIMITERS: Disable all brickwall limiters, global safety clippers, or loudness maximisers on the master output. If a clipper is fundamentally tied to your creative sound design, submit it only as a last resort.
BUS PROCESSING: Conservative bus compression (e.g., SSL-style VCA glue) is acceptable if it is active throughout your mixing process. Ensure you understand its impact on your transients; if in doubt, bypass the processing.
PROCESSED VS DRY: If master bus processing or creative coloration is kept active, you must provide two separate, clearly labelled versions: one [PROCESSED] and one [DRY] for precise comparison.
[PRTCL_ID // 201.3]TONAL BALANCE & STEREO INTEGRITY.
THE KICK/SUB RELATIONSHIP: Avoid boomy kick drums with excessive low-end decay if a heavy sub-bass is present. Conflicting low frequencies ruin headroom and are exceptionally difficult to remedy during final mastering.
MONO COHERENCE: Keep all low-end frequencies centred and phase-coherent. Maintaining a mono crossover up to 170Hz ensures your track retains maximum punch and translation on large-scale club sound systems.
STEREO WIDTH: Avoid excessive or artificial stereo-widening plugins. A narrower, focused stereo image translates with far greater power. If in doubt, bring the sides in.
LOUDNESS PHILOSOPHY: Prioritise dynamic integrity over raw volume. Loudness is a byproduct of a balanced frequency spectrum and controlled transient response, once the structural shape of the mix is correct, competitive volume follows naturally.
[PRTCL_ID // 201.4]LOGISTICS, ARCHIVING & DELIVERY.
NAMING CONVENTION: Number all files sequentially in their intended running order. Apply numeric, capitalised prefixes so the project layout imports logically into the DAW grid. Example: [01_TRACK_NAME], [02_TRACK_NAME].
TRANSMISSION: Compress all project assets into a single .ZIP or .RAR archive. Submit files via a permanent, non-expiring download link (WeTransfer Pro, Dropbox, or Google Drive) to ensure data stability when the project enters the studio pipeline.
METADATA & REFERENCES: Include a text file outlining any specific technical concerns. Provide 1–3 commercial reference tracks, detailing what you admire in their low-end weight, dynamic range, or space.
MONITORING CHECK: Prior to submission, audit your final export on consumer playback systems (laptop speakers, domestic setups). This exposes midrange flaws and transient imbalances that high-end studio monitors can occasionally mask.