I have three Mastering categories to meet the budget of all musicians and recording studios large and small:
• Basic Mastering is geared toward independent artists who are on a tight budget and want a radio-ready sound, which in the music business is called ‘Red Book’ quality.
• Extended mastering serves midsize labels who have more time invested in their music and plan on a wider radio and retail distribution for their CD, and they expect to sell a lot of CDs.
• Custom mastering is the high-end Mastering Technique serving major labels that compete on the national and international markets. These clients expect "maximum everything": the most exotic gear and whatever time it takes to produce a sound that is very smooth, clear and enhanced.
In my Mastering Studios, I use cutting-edge technology that does not exist anywhere else. Since the late 1970s when I built my first recording studio, I have refined signal processors tailored for Mastering. This produces a sound that is not available from off-the-shelf equipment, analog or digital. I handle all Mastering myself rather than overseeing the work of other engineers, and I have delivered about 200 CD projects during my 15 year career as a professional Mastering Engineer. This averages out roughly one Mastering Project every 5 weeks. However, realistically, there are some projects that take 2 - 3 weeks while others take 8- 12 weeks; depending on the quality of work desired and the equipment used to get the desired sound.
Though I work for large clients like Sony, RCA, Warner Bros and Columbia Records, I still offer Test-Masters to people unsure of the benefits of Mastering. This keeps the focus on what I can do for your music now, not what I did for someone else last week or last year. An ongoing R&D effort lets me constantly improve the quality of finished Masters. All Mastering work is guaranteed, and my clients expect and receive personalized service regardless of their production budget. They express their thanks by sending me referrals and their repeat business.
Everyone wins. Basic Mastering turn-around time on average is 3 - 5 days, Extended Mastering is 7 -10 days, Custom Mastering 2-5 weeks. Test Masters one week or less.
Payment Methods: I accept checks via Paypal, bank money orders, Visa, MasterCard via Paypal. Quick turn-arounds are usually available at a extra small cost if time permits. I support analog media on 1/4" reel-to-reel tape, stereo or 4-track, Cassettes. Stereo WAV or AIF files up to 24-bit , 88Khz - 96Khz,. Media types include CDR, CDR-W and Minidisk. I can produce DVD-Audio Masters of your project at sample rates up to 32-Bit, 192 KHz.
Intro & Brief Bio Major recording labels have their releases mastered professionally for one reason. A CD represents a serious investment and they want it to succeed. Mastering brings out the best in the audio media whether the mixes come from a world-class studio or a project room. When the sound is right, you sell more records and the only way to get "Red Book" quality is by having your audio media professionally Mastered.
You should expect three things from an experienced Mastering Studio such as Thunder Mastering Studios:
The impact and life in the music will be enhanced
The volume level and over-all spectral balance (bass, md-range and treble) will be enhanced and will meet or exceed the requirements for all major labels.
The sound will be consistent on different playback systems and will translate well to cassette and online formats such as mp3.
We guarantee "Red Book" quality that meets or exceeds the music industry standard
All musicians an looking for that extra edge to make the sound of the CD really stand out. This is where in-depth experience and specialized mastering tools can make a real difference. If you are responsible for a successful CD release, you deserve the answers to questions you would ask any creative partner: "Why should we involve you? What unique contribution can you make? What's your background?" The next two paragraphs briefly address these questions.
I was a professional drummer from 1972 until I semi-retired in 1995 During this period I worked with some of the most talented musicians in the business. I also learned a great deal about the music business during that time and in 1995, I started Thunder & Lighting Concert Productions. This was a very large and successful sound reinforcement and lighting company who worked with professional concert promoters that promoted shows like Three Dog Night, Kansas, Allman Brother’s Band, Paul McCartney and Wings, Elton John, Rod Stewart, David Bowie and 100s of other bands and musicians.
I built my first multi-track studio in Raleigh, NC in 1976 to work with a friend of mine who had written a rock operetta, “The Son of Lydia Anne Kingford”, and wanted to record all 23 songs to be used as work tapes. So he put a band together he named ‘The New World’s Art Ensemble’. What actually came out of this recording studio was something that was never heard of before, all the songs recorded were modified by using processors such as EQs, Limiters, Compression to make them sound brighter and more enhanced. What I had done unknowingly was built the first Mastering Studio and the rest is history. Even though I did not retire from drumming professionally until 1995, recording was in my blood and I worked every chance I got in studios all across the country, both as a studio drummer and engineer. After I retired in 1995, I began engineering and mastering full-time in my own studios and I have not stopped.
Musicians who came to know and familiarize the sound of my recording and mastering sessions starting calling and asking for me personally to engineer and master their recording sessions. Over the past 15 years I have developed a style of my own that is uniuqe and I have been asked by many large companies over the years to help their R&D personnel test their studio recording and mastering equipment. At this time, my mastering studios have the top of the line mastering equipment, both digital, analog and proprietary.
The turning point came in the mid '90s after winning “Engineer of the Year” at a music award show held in Las Vegas for an album I engineered. This award got me recognized by several independent labels and I started receiving more work than I could handle, but after completing several Master Projects for these independent labels, I received another big break, one of my clients passed along a good reference to someone at Warner Bros, who called me about working on a series Mastering Projects. The artists ranged from people currently on the charts to artists that were new and recently signed. This was a great opportunity me at that time. There was plenty of work and inflexible deadlines. The source material came from first-tier studios around the country, along with rougher tracks that were recorded in secondary markets. This project was important for two reasons, working with a lot of major-labels is good experience but more interestingly, from an artistic and engineering standpoint, it was the challenge of bringing the rough material up to the same standard as first-tier studios. Music recorded on a large budget usually sounds great, and mastering puts the final polish on an already excellent product. Independent material is often a different story - it can demand more skill and better equipment to get "the sound." For this project, I improved and offered my input and expertise in helping design a number of processors to extract the right feel from the less-than-ideal source material. The finished Masters had more energy and emotional intensity, and the client was so thrilled he extended the Mastering Project and I am still working with this client to this day.
In many ways, my business has flowed from this experience and I continue to give my input to developers of Mastering tools and equipment. I can put that enthusiasm and experience to work for you too, as I have done for clients worldwide.
Which is preferable - analog or digital sweetening?FIRST let me state that regardless of whether I use analog or digital sweetening techniques, it all goes back to digital in the end. Whether I start with 16-bit sampling at 44Khz or 24 bit sampling at 88khz, it is all converted to Analog for processing, then it has to be converted back to 16 Bit sampling at 44.1khz, which is the standard for CDs. This is accomplished using A/D – D/A processors.
Summary: As with the majority of Mastering Engineers world-wide, I prefer to work with analog though I have excellent digital options. If you check around, you will find that the high end of the Mastering market is dominated by analog and certain aspects of the analog process leads to more musical results.
Do not confuse working with Analog as being the end result. As stated, everything is converted back to digital as the end product using A/D - D/A processors.
What is the highest quality way to get music from the performance to the consumer? This is a key question for anyone involved in music production. Many people have accepted the idea they should record and mix digitally and if possible through a digital console - then in the Mastering Studio, the audio is converted to Analog and compression, EQ and other processing is performed to brighten and enhance the music. Then after all the processing is competed (Mastering) the audio is converted back to digital format at 44.1 Khz and 16-bit sampling which is today's standard for CD quality.
Even industry people sometimes confuse the requirements for storing music and processing music. For storage, digital tapes and discs have significant advantages. They are quiet and do not degrade as quickly. Many people assume the advantages of digitally storing music also carries over to processing, and a few insist that music must never go back to analog once it is in a digital format. My clients and I disagree, preferring a sound that can only be delivered with very high-end analog gear although I do have and use the best digital software on the market today, such as Digidesign’s Pro Tools HD v7.2 and Steinberg’s Cubase Studio 4 Professional, both rated as the cutting edge in digital mixing and mastering technology and are highly regarded in the Analog and digital recording world.
There are at least three reasons for using very high-end Analog gear:
Bandwidth: Rupert Neve and other experienced designers advocate building equipment with a bandwidth of at least 200 kHz (ten times that of CD.) There is only one reason for this: it sounds better. The harmonics of many instruments lie well below audio. If they are rolled off, a quality of naturalness and transparency is lost, and for not-well-explained reasons, superior performance at the top can improve the quality of the bass also. While you cannot store the full signal on the final CD or DVD disc, having the capacity available during processing is important. Digital processing is not close to adequate in this area. 96 KHz sampling rates, while an improvement, still will not handle all the fine detail.
Down-conversion: If you go for a wider digital bandwidth and process at 96 kHz, you create the problem of which samples to discard when converting back to 44.1 kHz for CD production. The calculations can be formidable, and there is considerable discussion in the industry about the sonic penalties that arise. The problem becomes simpler if you process at 88.2 kHz, but it all disappears entirely if you sweeten in the analog domain and then make a single direct step back to digital format at 16-bits per second sampling at 44.1Khz for standard CD.
Nonlinear performance: The two points above may be subtle. This one is not: Compression and EQ, which lie at the heart of the sweetening process, changes the signal in very non-linear ways. From a purist standpoint, you can accurately say that we add distortion, often in significant amounts, to create positive reactions in the listener. The real issue is not specs, but which tools and techniques sound best for the job of generating the special flavor of non-linearity that people respond to. The human brain and emotions are exceptionally sensitive to the composition of sound. Comments like "It’s warm and punchy, with more separation between instruments" describe a classic feel, a character associated with the best analog gear. When it is done right, analog signal processing is more pleasing to the ear, and offers control over the fine points of the sound that is more flexible and musical. For certain, cases such as noise reduction, digital solutions can be amazing, bordering on magic. For sweetening, I almost always use analog tools and then convert to digital as the last step. Preserving and improving quality is the key.
What mastering equipment does Thunder Mastering Studio use? In order to get the sound I want, I have a variety of options to choose from. The signal path is primarily equipment I purchased many years ago with a few custom improvements that I use to control the dynamics, spectral balance and ambient feel of the music. A lot of my equipment has been modified during the years and are now proprietary and support Mastering techniques not found in other Mastering Studios.
1. The console is the core of any mastering facility. It defines the clarity of sound and the enhancements that can be made to the music. I have several consoles that I have the options to use in my studios from analog to digital, but the console that I used for Mastering CDs and other music media is built with Class-A line amplifiers. Chassis cabling and interconnects that are made with specially manufactured solid silver wire, and the audio controls are stepped switches with gold or silver contacts. Other components are chosen with similar regard for quality. This is the center of my ongoing years of experience and research efforts since it provides expansion bays for testing and comparing new circuits.
2. Compressors and limiters: These are the most powerful components available for shaping the sound of a CD or any music media. Over time, I have used a variety of Mastering tools from studio units to gear specially built just for Mastering.
3. Equalizers are the next choice for shaping sound. Certain EQs produce a resonant or sweet quality, the result of non-linearities that give a pleasing tonal color. For Basic and many Extended Mastering projects, I prefer the efficiency and excellent performance of parametric EQs from Sontec and other names found in top Mastering Studios worldwide. I can also select from vintage EQs that were used in the film industry before modern designs became common.
4. For Custom Mastering, I stay with the classic sound of fully passive devices followed by tube or solid-state gain stages depending on the required feel. These units are built like the console, with silver wiring and stepped controls. The spectrum can be shaped in 1/2dB increments at frequencies from 10Hz to 60 kHz. Bandwidths range from broad "air-band" and shelving curves down to surgically precise notches. Because of its flexibility, adjusting this equalizer can take an unusual amount of time but the end result is an open, non-electronic sound and exact control that cannot be found in even the most sophisticated parametric device. When time permits, I try to use some of its features for Extended mastering also.
The next step in enhancing a signal might involve image processing. This allows the width and other characteristics of a stereo image to be altered. I use the classic Blumlein Matrix, which offers precise control of the soundstage. A good Ambiance Enveloper is especially useful for synth-based tracks and recordings made in less than perfect environments. It can recover and in extreme cases, recreate the sense of depth often lost when recordings are processed too heavily. Many of my clients using Tascam, Alesis, Roland VS and other digital recorders have found that this processor will bring out the life in their tracks.
The quality of the final master depends on the excellence of the converters used. Of the six (6) converters I keep on hand, the three (3) 24-bit samplers, the one I use most often is designed with fully programmable dithering that supports sample rates up to 96 Khz. It is directly coupled to the output of the Limiter processor, preserving the shortest possible path between the finished sound and the CD. I also have three (3) 16-bit processors that I use to convert back to 16-bit sampling at 44.1 Khz which is the standard format for CDs. These converters are also couple to the output of the limiter processor.
For Custom Mastering, I use a number of tools that offers even more flexibility and performance that are effective for achieving hot levels with very low distortion. They essentially borrow headroom from frequency ranges that are not dominant at the moment, providing "room to breath" to the parts of the music that are contributing the most impact.
Another specialty module for the mastering console, is based on wide-bandwidth tubes from the 1920's, produces an adjustable super-fat sound on the final master. I call it the Analog Airbrush, after the graphics tool often used to enhance the highlights in a photo. It works like the legendary "Good" knob that was supposedly built into mixing consoles many years ago. ("That's good! I want more of that! Turn that knob up!") Dial in Smooth, Crunchy or Super Chunk, depending on your tastes. All kidding aside, some of the sounds connected with this early technology are amazing. They are also virtually unknown today since a few of the necessary parts have not been produced for over 60 years.
Along with the standard features - dynamic controllers, EQ, image processing and specialty designs, I can also select devices for effects, level and balance automation. I use them as needed, first to bring out the character of each track and then to relate the tracks together, producing the finished CD.
MONITORS: For a number of reasons, I have several monitor systems that I use. My main stereo environment uses a pair of large full-range electrostatics driven by custom solid-state power amps. These are time aligned and matched to a pair of M&K subs and the room (which is 26 ft. or 8m long), using FFT and real-time analysis. This setup is very flat in frequency response and exhibits Doppler distortion much lower than box speakers. These are my primary reference because they are higher in resolution at low to moderate listening levels than anything else I have tried. (The music has to sound good at low levels if it is going to sound good on many different systems.) Electrostatics can be a real bear to set up properly, but when you succeed, the resulting clarity can be staggering. It is possible to listen for hours without tiring. The secondary stereo monitor I use the most is the Mackie HR824. It is verifiably more accurate than most speakers at ten times its price, THX certified, with excellent bass for a small system. It is widely used in studios, so it is a common point of reference. I have other near field options also, driven by custom tube amps.
On many CDs, I spend more time with headphones than with speakers. Stax Nova Electrostatic headphones with tube driver amps are great for resolving fine detail, noise and distortion problems. They are very useful for verifying how tracks will translate across different systems. I have found that the Sennheiser HD-600 works well for this also.
I also have a calibrated 5.1/6.1 surround environment, for DVD-Audio, SACD, and other high-resolution multi-track formats. Surround is an emerging part of the business, and some of the panning and other aspects of current releases are pretty extreme to my ear. Decisions are made to show off the benefits of multiple channels since hardware companies are trying to promote their toys. Having lived through the 1970's Quad era, my own interest in surround Mastering is engaging the listener more completely rather than dazzling them with cool technology. The tools for authoring DVD's and other multi-channel formats are pretty crude. I hope that that situation will evolve quickly, bringing surround into financial range for a larger group of artists.
I also monitor music visually with peak and VU meters, modified real time spectrum analyzers, phase correlation meters, and a number of specialty tools that provide large amounts of information about what is happening inside the music. This enhances the process of making fine adjustments that otherwise could take a lot of time. The combination of speaker systems and instrumentation provides an analytical tool that is tough to beat.
How do you relate to different styles of music? I have worked on all types of music and each one affects me differently. I could probably write a page on techniques I've used for each style but here are just a few quick summaries: (in no particular order)
• Rock and Pop discs in general go into the radio market. Even though dynamic range is not an issue with CDs as it was with vinyl, producers want their discs to compare with major-label product in terms of impact and overall level. The music has to grab and hold your attention without being abrasive when you hear it multiple times.
• Jazz has two opposing qualities when it is done right: it appeals to the intellect, and it swings. The right balance between these forces can lift you off your seat. I try to maintain impact and drive, but let the disc have more dynamic range. Since a lot of jazz is played on acoustic instruments, the quality of air is important here also.
• Gospel music was designed to resonate within a part of us that we often ignore. I use processing that enhances this quality of resonance and ensures that vocals are clear. My earliest training was singing in choirs, and I respect the way this music can move us.
• Rap and Hip Hop work best when they are In Your Face. The bottom is bigger, the top more aggressive. Current practice is to get the levels super-hot. I have developed a number of techniques to do this without creating the digital grit that you often hear. I try to bring out the subtle licks and musical comments that keep this music interesting.
• Country is fusing with every other style but still concentrates on delivering a story. I can handle much of it like Pop styles, but the emphasis remains on vocal clarity, with the instrumental bed strong but secondary.
• Latin music also crosses many stylistic boundaries, from simple folk to power rock and sophisticated jazz. This market appreciates clear sound with a bit more dynamic range than English-language Pop. I first gained an appreciation for Latin styles when I spent a couple of years in South America.
• Metal and, to a lesser extent, Industrial, Techno and their close relatives get the aggressive treatment. There is a darker EQ balance that fans expect. When the CD has been mixed well, it is possible to maintain a fat sound full of harmonics, increase punch and keep the levels hovering at the edge of the red zone, which is where the fans like it.
This just skims the surface of how I handle different types of music. I have also worked with a variety of film scores, radio and TV spots, Classical, New Age, Ragtime, Ethnic styles and a few truly bizarre fusion styles. Each CD has a different feel, and each artist conveys their own message. It is important not to jam a certain disc into one general-purpose mold. I listen to the material, and then react to it. If I think it needs a certain treatment, you will know in advance to be sure this is the direction you want to go.
Sweetening Options: Basic, Custom, Extended
Quick Summary: Time is money. It is often possible to bring an album into the zone of commercial sound quickly without spending a lot of money. Some independent artists look at our basic service, especially if finances are tight. Record labels however, usually want a more in-depth treatment or mastering of their music media since the investment up front will translate into increased sales and they will select our extended or custom mastering service.
I offer three services, based on your budget: Basic Mastering is the choice for artists who need a great sounding product but are on a tight budget;
Extended Mastering was created for independent labels and provides results that exceeds Basic and approaches as close as possible Custom Mastering without breaking out the exotic and most expensive equipment.
Custom Mastering is a "pedal to the metal" premium service geared toward larger labels and national releases. Custom involves the most time and the most exotic gear. However, depending on what sound you are looking for and your budget, all prices are negotiable. Here are the details:
Basic mastering is the starting point for my other services, so I discuss it first. Basic was created to make professional work available to artists with very limited budgets. I have kept the rates low by improving the efficiency of my approach. The music tells me the direction to go, often in a short time, so I can dial in the settings quickly. This service enhances the essential qualities needed for commercial success - impact, radio friendliness and sense of life in the music.
Basic Mastering Cost:
Single Track $25 (Includes equipment setup)
Mini-CD, 2-3 tracks (24 minutes or less) $50- $78
Mini-CD, 4-6 tracks (24 minutes or less) $100 - $150
CD, 7-11 tracks (70-80 minutes) $175 - $275
CD, 12-16 tracks (70-80 minutes) $300 - $400
CD, 17-21 tracks (70-80 minutes) $425 - $525
CD 22 - 30 tracks (70-80 minutes) $550 - $750
Basic Mastering is $25 per song and the standard turn-around time is 3-5 days.
Digital Editing includes fade-ins, fade-outs, simple cross-fades, sequencing, and hard disk archiving of your completed project up to 90 days.
What Is the process?
• I go through the entire CD and decide on EQ, compression and other settings that will be required for each track. This creates a "road map" of changes.
• I take this road map and master the album. I stop after each track, dial in the new settings, and then master through the analog signal chain directly to the digital editor.
• Working track by track means that the music can arrive without any negative effects from a previous editing process. Since some editors can actually modify (flatten) the sound of the music, even in all-digital mode, and some CD burners do the same, I prefer to work with mixes as close to the originals as possible. Preserving the quality of the mixes is one of the main reasons why I edit all projects.
• When all the tunes are on the editor, I space them according to your specs and/or common practice for the music style. Then I create the master CDR. A hard-disk backup is made at no extra charge and maintained for 90 days. This allows for EP releases or changes in sequence later on, at low cost.
Extended Mastering evolved from methods used on Custom projects. Time, experience, and new designs that I brought online in 1998 allowed me to introduce a service that delivers excellent results at a price point below Custom. In fact, the improvements allow me to do a typical CD for a few hundred dollars more than Basic. Even small labels usually find that this is within their reach.
Extended Mastering Cost Includes Editing:
(70-80 minutes) Single track $45
(70-80 minutes) Two tracks $80
(70-80 minutes) three tracks $135
(70-80 minutes) 4 to 6 tracks) $180- $270
(70-80 minutes) 7 to 11 tracks) $315 - $495
(70-80 minutes) 12 to 16 tracks) $540 - $720
(70-80 minutes) 17 to 21 tracks $765 - $945
(70-80 minutes) 22 - 30 tracks $990 - $1,350
Extended Mastering is $45 per song and standard turn-around time is 7-10 days. It also includes volume level adjustments.
Custom Mastering is my original service, created for clients competing in the major label market. The goal is the best possible results - maximum "slam factor". This is the choice for CDs that represent substantial investments and which are headed for national and international distribution. Clients want me to explore every processing option and spend extra time to analyze the music. They expect priority handling plus access to equipment designs just coming off the test bench. With Custom mastering, I use the full range of specialized processors that were developed specifically for this service. Custom provides time to try the most complex combinations of enhancements, such as simultaneously riding gain, EQ and Halo settings within tracks. Techniques like these can deliver results that are unattainable through other means.
What mastering equipment does Thunder Mastering Studio use? In order to get the sound I want, I have a variety of options to choose from. The signal path is primarily equipment I purchased many years ago with a few custom improvements that I use to control the dynamics, spectral balance and ambient feel of the music. A lot of my equipment has been modified during the years and are now proprietary and support Mastering techniques not found in other Mastering Studios.
Custom Mastering Cost
Mini-CD Single Track (not to exceed 24 minutes) $70
CD with 9 - 13 Tracks (70-80 minutes) $630 - $1,300
CD with 14 - 20 Tracks (70-80 minutes) $910 - $1,400
CD with 21 - 25 Tracks (70-80 minutes) $1,470 - $1,750
Custom Mastering is $70 per song and standard turn-around time is 3-5 weeks. The cost of reel-to-reel re-calibration, if necessary when doing analog Mastering is included in the package.
Custom Mastering also includes digital editing, fade-in, fade-out, cross-fades and sequencing, volume level adjustments plus archive storage for life in a controlled environment
As you see, Custom Mastered CDs way will run at least twice the cost of the same CD mastered with Basic Mastering. Clients who have worked with the major metro mastering houses tell me that this is still a great deal. I appreciate the compliments, and I am glad they keep coming back. In addition, clients who prefer my other mastering services also benefit since, over time, I can apply many of the new techniques and equipment to their projects as well.
What are the benefits? If the quality is there to start with, Basic Mastering reveals that quality more clearly, and takes it to the next level. Extended Mastering starts with the results of Basic mastering - punch, warmth, air and depth - and brings them out even more. Extended Mastering takes about twice the time for trying different settings, problem solving and fine-tuning. I apply analytical tools originally developed for Custom projects to profile what is happening in the music. If there are sonic problems (or opportunities for improvement), they can be handled with more finesse, using more combinations of tools and techniques. If a CD arrives in nice shape sonically, I can try specialty EQs that were originally built for Custom work. (I do not do this with Basic.) I also use the extra time to switch to a different monitor system, go through the CD again, and then check the new settings against the first set. This picks up on some fine details and improves the way tracks relate to each other.
Here is another way of looking at it. Assume that Basic Mastering improves the sound of your music 75%. Extended Mastering can improve the sound 100% and Custom Mastering can improve it 150%.
Making the decision: Which service should you choose? The choice comes down to the time you would like for me to invest in your project. I do not do much Basic mastering anymore, but some artists still select this option due to their budget. Basic Mastering still provides fine results and gives plenty of "bang for the buck".
If you need an extra edge in the radio market, (and definitely if you mix down to 24 bit), Extended Mastering is the way to go. I prefer doing Extended Mastering, since it allows more time to dial in the settings, especially with the limiter and compression processors. People who ask for Extended Mastering often say something like "I've spent a serious amount of time getting this project ready for Mastering, so I want you to take the time you need to make it sound killer." Most of my clients, except for the major labels, do go for Extended Mastering. They look at the dollar’s average cost difference in the context of an entire production and promotional budget, and Extended Mastering makes sense for them.
Finally, if your music is ready for prime time, consider Custom. The high-power tools are only used in this service - plus the extra time will reveal the best in your material. CDs headed for national distribution benefit from the added impact.
Regardless of which mastering service you choose, all work is guaranteed.
Evaluating and pricing your project, Test Mastering So how do we start? Send me a copy of your recorded media on CD, and I will evaluate them at no charge. If you already know that a track needs EQ or other treatment, write it down. Include detailed notes. Tell me what kind of feel you are going for if it is not obvious. Sometimes producers send me a CD with a feel they prefer. They expect me to react to the music as if we are sitting shoulder to shoulder in my studio. This is goo because once I know their preferences, a couple of phone calls made will usually put us on the same wavelength. Then I will master the CD, ship the Master to you and we are finished.
If you would like a few changes made after hearing the reference, this is not a problem since I document all the settings when I Master a CD. In fact, most of my equipment has built-in automation and will automatically go back to their desired settings when I reload them, so dialing in a few changes is quickly and easily done without charge.
If you are concerned about how your music will sound before the CD is complete, send me a CDR copy of one track. (Please - keep the length under six minutes. Two to three minutes is more than enough to see how my process will work.) I will master the cut and Mail back the before and after versions on CDR for $25 or e-mail it back to you for $15. Check out the results on your studio, home, car or boom box CD player. You will be making a more informed decision at a very low cost. (Also, based on experience, I usually end up doing the entire CD once a new client hears the results of before Mastering and after Mastering.) Test Mastering is useful when you are looking for a very specific sound (highly compressed / ultra-purist / has to match the one in your head or on another CD exactly) or if you are unsure of the benefits of Mastering. For these situations I offer Test Mastering as an option but it might be something for you to consider.
If you would like a test master, send your audio media to me on a CD, include any notes about problems that need resolving or a particular sound you are trying to achieve, plus a bank money order made out to Thunder & Lighting Concert Productions or send me an e-mail at
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and I will send you an invoice for payment via Credit Card through PayPal.
(For test copies, you do not need to fill out the Order Form. I try to keep turn-around times for test copies in the one week or less range unless I am swamped. (A test copy may have the quality of a finished Master but is not standard CD quality because it is recorded at 128 Kbps instead of 320 Kbps, but is fine for evaluating the improvements made to the original.
If you need a CD single for commercial production, I can deliver one track with Extended Mastering for $100. The price sheet contains examples of how to estimate your costs. Exceptions might include CDs with an unusual high number of tracks or a sub-master tape that contains problems or needs complex cross fading and editing. In cases like these, I will let you know in advance about the issues. Generally, either the flat rate can be adjusted up by some agreed upon amount or I can do the extra work at an hourly rate. In all cases you will be kept informed.
Turnaround Times, Scheduling Fixed Dates: Standard turn-around times vary depending on the project type you select. Basic Mastering turn-around time is 3-5 days, Extended Mastering time is 7-10 days and Custom Mastering can be as long as 2-4 weeks. You need to call or e-mail us for a closer estimate.
I do work on a first come - first serve basis. When your project arrives with all the information needed to start the mastering project, (see the Order Form/Track Sheet), I calculate a tentative shipping date for you. Your shipping date can slide in either direction. For example, if there is a problem with the source tape of someone ahead of you and their project is put on hold until they correct the problem, you might move up a few days. Or if extra rush work comes in, you could slide back a couple of days. For people with tight production schedules, rush turn-around is usually available at a additional cost of $100 and over-night mastering turn-around is an additonal $300. I schedule one or two rush-slots each week for rush work, and these slots are usually filled well before the week gets started good.
During busy season, (March-October), rush turn-around time is sometimes a week, but since a normal turn-around could be two weeks during that particular time, your completed project is still very important to me and I will get it completed as fast as possible, usually within that one week schedule.
Please call if there is a deadline that you must meet or If you have a fixed date when your mix-down(s) will be completed and you need the Mastering completed quickly after that, I can book a Mastering slot in advance. All you need to do is send me a $100 rush fee to hold that spot.
Checklist for submitting a tape for mastering I accept analog 1/4" reel-to-reel stereo tapes, two or four track. These may be encoded with Dolby A, B, C or DBX type 1 noise reduction. However, I prefer the media to be on CD because Store bought analog tapes do tail out. If you do use encoding do not forget to include calibration tones, a minimum of 30 seconds each at 100, 1K and 10kHZ. If you provide tones at 50 Hz and 15 kHz I can dial in the playback EQ a little tighter. Include Dolby tone noise for calibration if your pre-master is Dolby encoded with A, B or C. I will also accept audio media on cassette encoded with Dolby A, aor C which you must specify of course.
Thunder Mastering Studios can accepts digital formats up to 32-bit sample rate at 96kHz but we prefer sample rates not to exceed 24-bit 88Khz. Media can include CDR, CDROM, CD-RW and Minidisk. If you send data files, save them as either stereo Windows WAV or Apple AIF files on a standard ISO 9660 format CD disc. (I do not accept CDFS format discs or SoundDesigner II files.) Some digital recording software can save files as 32-bit sample rate, 96-Khz, but this is not recommended because 32-bit sample rate stereo mixes do not use the last eight bits, so convert these files to 24-bit sample rate 88-Khz before copying to a CD disc. Quality will be lost at 32-bit sample rate, plus 24-bit sample rate will take up less space than 32-bit sampling rate. 32-bit sampling rate at 96-Khz is used for movie DVDs and not audio CDs.
1.Make sure somebody with good ears listens to the pre-master from start to finish before you send it to us Mastering. This may seem obvious, but in the final rush to get the tape or disc out the door, things sometimes fall through the cracks. You would be amazed how many times a strange noise, a false start, or even an entire wrong take can sneak onto an otherwise immaculate pre-master. If you catch these problems, it will save me time and you money.
2.On digital tapes: Make sure to provide a track sheet with the song titles and start times in minutes and seconds if you send your music media on reel-to-reel. (Start times are not necessary for CDs.) Handwritten track sheets are okay. They need to be clear and readable. I will be glad to e-mail you a blank one if you do not have an example to work off of.
3.If there are click tracks or countdowns between cuts that are to be kept as part of the program, include this in your notes! I usually do not leave click tracks unless requested to do so.
4. Levels should never exceed digital zero. Minus one is a better choice. (With Tascam DA-30's, minus one is the max you should use, since their meters are off standard calibration.) With any digital pre-master, there is no sonic benefit to pushing the level up that last one or two dB. I will create hot levels during mastering if that is one of your goals.
4.I recommend Quantegy, Sony, DIC MQ, and Denon tape in that order if possible.
5.Ship the tapes via a carrier such as FedEx or UPS that allows easy tracking of package(s).
6.Label your CD discs, preferably with a magic marker rather than a paper label. I have dozens of CD pre-masters here at any one time! I have not lost one yet, but you do not want to be the first.
7.If you have specific preferences as to how one track, or the entire CD is to sound when the project is complete, type it out on a separate sheet, and include it with your music media (CD reel-to-reel or cassette tape)
8.Make sure to include the correct mailing address where you would like the reference CDR and/or finished master shipped.
Prices and Guarantee: 2009
Prices are valid through January 1, 2010 unless otherwise stated; up-dated January 01, 2009. Acceptable formats include CDR, CD-RW, and Minidisk not to exceed 24-bit sample rate at 96-khz on CD, 16-bit sample rate preferred at 44.1-Khz, and unless approved before hand and remember only Extended and Custom Service clients can send Analog ¼” reel-to-reel tape(s) unless approved before hand.
If you are sending ¼” reel-to-reel tapes within the USA, plan on $10 to $15 to return the tapes back to you via UPS ground service, once the project is complete.
If your Master is on Analog 1/4" reel-to- reel tape and you request Extended Mastering add $100 for setup fee and re-calibration of our reel-to-reel. There is no extra charge for Analog Tape with Custom Mastering.
Clients often need extra CDs as backup or for early promo use. We do provide at no charge one master CD and one backup CD.
90 minute cassettes $15
FedEx or UPS overnight shipping of Mastered CD - $25, and $100 for international
Custom Mastering overnight shipping – No Charge, International $100
(Be sure to add this to the Mastering cost if you are making a budget estimate.)
Test track segments not to exceed 5 Tracks or 24-minutes on Mini-CD $10 regular mail and $20 overnight
Test Track 1-minute segments not to exceed 10 Tracks can be sent via FTP for immediate delivery for $10
Rush turnaround Mastering - $100 extra (Call for availability)
Same day rush turn-around $300 extra, includes at no charge, over-night shipping via UPS or FedEx (Call for availability)
Package & Shipment (excluding Custom Mastering) prices do not include overnight shipping to clients or duplication facilities.
Terms of payment are Paypal checks, bank money order or Visa, MasterCard via online Paypal for first-time clients. Business checks OK after that.
International orders: Bank Money Order drawn on a US bank must be sent with client's audio media; Visa or MasterCard via online Paypal is preferred. Call or e-mail for an accurate estimate that includes return shipping fees from the USA.
I prefer Basic Mastering music media or music files to be sent ot me on CD. You can send them as Analog (Wav) or digital (mp3) files. If sending as digital files I prefer them to be 44.1 Khz sample rate at 16-Bit, not to exceed 48- Kbps sample rate at 24-Bit.
If you are sending reel-to-reel tapes, please select from the Extended or Custom Mastering options. However, as I have already stated, exceptions can be made so if you are sending your media files on reel-to-reel and prefer Basic Mastering due to your budget, please call in advance. I will be glad to work with you on this.
All the above packages include CDR Master Disc and regular Mail shipping. Add $15 for two-day delivery, or $25 for overnight delivery (Excluding Custom Mastering).
Same-day electronic delivery via FTP 1-minute Test Sample Tracks $10 not to exceed 10 Tracks. Payment must be made via Credit Card via PayPal.
CD Duplication:
I have excellent duplicating equipment (Tascam High Density) to duplicate your final Master CD and I can also do the Art Work in full color (call 888-535-3261 for pricing), however, there are times I am swamped and have to contract out some duplication work. If this happens, I will put you in direct contact with other duplication vendors who also offer excellent CD and/or cassettes duplication in quantities from 10 and up. Some vendors specialize in delivering complete high quality packages to working bands, some are unusually strong in the artwork design area, and some such as us, can match prices on large CD runs with the biggest plants in the country. Please call for rush duplication request because we stay so busy at times that if you are in a rush, we may not have time to duplication your audio media per your specific date and time.
Thunder Mastering Studio - Guarantee:
You will be completely satisfied with our work or there is no charge. However, there is a small detail. You must have purchased at a Test Master of the finished product that contained one (1) minute segments of each song. Using this Test Master, you compared your original to the finished mastered. After the comparison you decided there was no benefit to mastering your audio media. We will immediately stop the mastering process and return your original audio mediat back to you. I must add that we have never had a dissatisfied customer.
NOTE: Our clients are very happy with the mastering choices I make when I am given the "Green Light", to master their audio media using my judgment and many years of experience. Even though Thunder Mastering Studios has never had a dissatisfied customer in our many years of doing business, you could be our first. This is why it is important to fill-out a work sheet with notes on how you and/or the producer would like to have your Mastered project to sound. As stated, most clients do give me the "Green Light" to go ahead and use my best judgment because of my many years of experience, but sometimes, although rarely, a client may want to make a minor change to a song or two,
There is a small fee of $10 if you would like to have a change made to a song or two. I can do this at this price because the preparation will take less time since I keep a complete log of the settings used to master the project and most of my processing equipment is automated and will go back to the original settings automatically. This helps me make changes quickly and easily.
Thunder Mastering Studio maintains a digital hard-disk archive of completed projects for 90 days. We incorporate multi-level protection against power failures, surges and lightning strikes. We take all reasonable professional care in protecting client materials. AND - as you know, even the best tape machines eat tapes (very seldom however), but common sense and professional practice indicate that you should have a backup of any valuable materials you send to Thunder Mastering Studios, pPlus, we can only be responsible for the replacement cost of our finished mastering project that is shipped via USPS, UPS and FedEx.
Order Form / Track Sheet
NOTE: CD projects arriving at Thunder-Productions Mastering Studio without this information could be delayed! Make sure to read the guarantee at the end of the price info. This section shows the information that you should provide. If you want to print it as a form, use a fixed pitch font such as Courier.
Which mastering service do you need: __ Custom __ Extended __ Basic __ Call & advise
How many CDs do you need total? (Two disc are included with all 3 services) ____
Do you need priority service? __ No __ Yes ($150)
Shipping (US clients): __ Overnight ($25 __ Priority Mail ($0)
Shipping (Overseas): Call (919-400-7847) 1-minute test segments via e-mail ($15) not to exceed 10 songs.
If necessary, attach a sheet with notes on handling individual tracks; include a reference CD if you want the finished product to sound as loud as or similar to a specific song, artist or CD.
Please include comments. For example:
• Is the overall original CD close to the sound you want?
• Which tracks are closest to an ideal mix?
• Is standard spacing OK between Tracks?
If there are countdowns before Tracks, do you want them removed or left in?
Important: What overall processing was applied to the recorded mix-down stereo mix? (Compression, EQ, Spatializer, Vitalizer, Exciter, Normalization, etc.)
NOTE: List the songs in the order you want them placed on your final Master CD. Use extra paper if necessary.
Album Title:
Record Label: ............................................ Phone (day): ....................
I hope you found this information helpful in understanding Mastering and if you have any questions contact Thunder & Lighting Concert Productions using the above contact Information.
