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Submission Guidelines

  • Services We Offer


    MASTERING
    Mastering uses a single stereo interleaved uncompressed file of a song (already mixed).  For the most part, anything done in mastering affects the entire song as a whole.  An exception would be frequency adjustments like, “cut/add more bass, or put reverb on the mid freq range.”  But a request like, “make only my guitars louder,” is a mixing issue.  The guitar levels need to be raised in the mix, and the new mix needs to be re-uploaded.
    STEM MASTERING
    Stem mastering is sections of tracks (all the drums, all the vocals, all the guitars, etc.) mixed together to make a song (single stereo interleaved file).  Then the song is mastered.
    SUB VERSIONS
    Examples of sub versions are radio edits, clean version, extended version, etc.  If the sub version uses the exact same settings as your master, there is a $10 charge per song to have them mastered.

    MIXING
    Mixing is individual tracks (vocals, bass, guitar, etc.) mixed together to make a song (single stereo interleaved file).

    We do not work with pro tools or cubase sx session files.  You would have to export each channel as a .wav file starting at the beginning of the song all the way to the end of the song.

    See below for details on files formats, sample and bit rates.

    VOCAL PITCH CORRECTION
    What's the most important part of a song?  By far it's THE VOCAL PERFORMANCE!  Even if the music, mixing and mastering is a grade "A", if the vocals are off key, the public will grade the song an "F!"  Unless its an instrumental, the vocal performance and lyrics ARE the song.  They're the primary focus of the listener. 

    Our vocal pitch correction will get all of your vocal tracks in tune.  The sound is 100% natural.  We manually apply the process only to words that need it.

    MASTERING RUSH SERVICE
    We can master your song(s) within 24 hours.  There’s an extra $8 charge per song.  Available only Sunday thru Thursday.

  • Types Of Files To Submit


    FILE FORMAT
    Stereo interleaved and uncompressed .WAV and .AIF/.AIFF are best.
    We can use MP3, but the quality isn’t as good.

    SAMPLE RATE
    44.1 or 48 kHz
    Anything higher is overkill, since the sample rate of an audio CD is 44.1 kHz, and an MP3 is less.

    BIT RATE
    16 or 24 bit
    The sample rate of an audio CD is 16 bit.

  • Getting Your Mix Ready For Mastering


    THE STEREO OUT (MAIN OUT)
    No plug-ins should be applied to your stereo out (main out).  No compressing, limiting, spectral enhancing, etc.  It’s our job to apply the necessary amount needed.  If you apply too much of anything (and most do) we won’t be able to get your mix to sound the best it can.

    PEAK LEVEL
    The loudest part of your song (peak level) should be around -3db to -5db (below 0 level).  A little more or less is fine.  Note - Sometimes songs that peak at 0 level are fine, if it’s a quick hit (drum, hi hat, etc.) that’s peaking.  But it’s better to submit below 0 level mixes to begin with, since there’s really no benefit for you to come in hot.

    The reason we need the level lower than 0, for example, is because if a song requires a frequency boost and phase correction, it can’t be done if you’re already at 0 level.  We can’t boost or phase correct anything!  You’re already maxed out.
    We get so many over level submissions, I've decided to show graphics of what your .wav/.aif file should look like.


    wav1
    This .wav file peaks at -6db.  A little low but just fine.  We can work with this.



    wav2
    This .wav file peaks at -3db.  This is great.



    wav3
    This .wav file peaks at 0db, but is fine because there are no distorted flat
    spots in the wave.  The high hats are hitting at 0db and everything else
    drops down, leaving good dynamic range.  We can work with this.



    wav4
    This .wav is +3db over level.  All the flat spots you see are distortion.  You can't
    just jack up your levels past 0 and distort everything to make your song louder. 
    It doesn't work that way.  Do not submit a file that looks like this.



    wav5
    Once a week, we actually get at least one file (or entire CD) that looks like
    this!   Let's call this the "trainwreck file." +6db over level and totally distorted
    from beginning to end.  We can't do anything with this.  No one can!


    wav6
    This is an interesting file.  We get this quite often too.  It's the "trainwreck file"
    above, gained down -9db.  It's completely distorted, but its -3db under 0 level. 
    We can't use this either.  Once your song is distorted and over level, you
    can't just gain it down.  All you're doing is making a distorted file quieter. 
    You have to be under 0 level on the stereo out, and on all the mixer board
    channels when outputting the original .wav file.   Unfortunately, many times
    the recording studio gives you the "trainwreck" file and you're stuck with it. 
    Gaining it down yourself does nothing.


    HEADROOM (DYNAMIC RANGE)
    As a song plays, the output meter constantly goes up and down.  Headroom (dynamic range) is the area between the peak level (when the meter is up) and the low level (when the meter is down).  Roughly, 3db to 5db of movement between the high and low meter level is good, but this depends on the genre of music.  With a compressed/limited or “over” 0 level mix, the meter will not go up and down more the 1db, if any.

    The reason we need headroom is because compressed/limited and over 0 level mixes already have music content removed from them, which greatly limits what we can do with the song.  It would be comparable to a woman going to a hair stylist with 3 inches of hair.  The stylist would be “very” limit with what she could do.

Common Mixing Mistakes We See Daily

  • 1. Plug-Ins On The Stereo Out (Main Out)


    For mastering jobs, NOTHING should be on your stereo out (main out).  No limiter, no loudness maximizer, no EQ, no spectral enhancer. This is our job in the mastering process.   We set everything where it's supposed to be. Then you tell us if you feel it needs a little more a less of something, and we can make adjustments.

  • 2. The Songs Peak Too High Or Have No Dynamic Range


    There are two factors to consider when exporting your final mix for mastering.

    A. Peak level - The absolute highest level the output signal reaches. 
    B. Dynamic range - The range between the highest level and the lowest level of the output signal.

    PEAK LEVEL
    The loudest part of your song (peak level) should be around -3db to -5db (below 0 level).  Note - Sometimes songs that peak at 0 level are fine, if it’s a quick hit (drum, hi hat, etc.) that’s peaking.  But it’s better to submit below 0 level mixes to begin with, since there’s really no benefit for you to come in hot.

    Never let your levels go over 0db on the stereo out (main out) meter, AND never go over 0db on any of your individual instrument tracks or vocal tracks in the mix. 

    Sometimes we receive songs that do peak under 0db, but the vocals or parts of the music are distorted because the "individual tracks" were mixed at +3db (over 0db).  Nothing should ever go over 0db on any channel of your entire mix.

    The reason we need the level lower than 0, for example, is because if a song requires a frequency boost and phase correction, it can’t be done if you’re already at 0 level.  We can’t boost or phase correct anything!  You’re already maxed out.

    We get so many over level submissions, I've decided to show graphics of what your .wav/.aif file should look like.


    wav1
    This .wav file peaks at -6db.  A little low but just fine.  We can work with this.



    wav2
    This .wav file peaks at -3db.  This is great.



    wav3
    This .wav file peaks at 0db, but is fine because there are no distorted flat
    spots in the wave.  The high hats are hitting at 0db and everything else
    drops down, leaving good dynamic range.  We can work with this.



    wav4
    This .wav is +3db over level.  All the flat spots you see are distortion.  You can't
    just jack up your levels past 0 and distort everything to make your song louder. 
    It doesn't work that way.  Do not submit a file that looks like this.



    wav5
    Once a week, we actually get at least one file (or entire CD) that looks like
    this!   Let's call this the "trainwreck file." +6db over level and totally distorted
    from beginning to end.  We can't do anything with this.  No one can!


    wav6
    This is an interesting file. We get this quite often too. It's the "trainwreck file"
    above, gained down -9db. It's completely distorted, but its -3db under 0 level.

    A file where the mixer channels are over 0 level, but the main stereo out
    is -6db, would look exactly the same.

    We can't use this either. Once your song is
    distorted and over level, you can't just gain it down. All you're doing is making
    a distorted file quieter. You have to be under 0 level on the stereo out, and on
    all the mixer boardchannels when outputting the original .wav file. Unfortunately,
    many times the recording studio gives you the "trainwreck" file and you're stuck
    with it. Gaining it down yourself does nothing.


    DYNAMIC RANGE
    As a song plays, the output meter constantly goes up and down.  Headroom (dynamic range) is the area between the peak level (when the meter is up) and the low level (when the meter is down).  Roughly, 3db to 5db of movement between the high and low meter level is good, but this depends on the genre of music.  With a compressed/limited or “over” 0 level mix, the meter will not go up and down more than 1db, if any.

    The reason we need headroom is because compressed/limited and over 0 level mixes already have music content removed from them, which greatly limits what we can do with the song.  It would be comparable to a woman going to a hair stylist with 3 inches of hair.  The stylist would be “very” limit with what she could do.

  • 3. Very Bright, Brittle Song Mix Or Super Bass Mix


    Roughly 25% of the mixes we get in, the client over cranks up the high end EQ or uses a spectral enhancer, thinking they're getting that clear professional radio quality sound.  This super bright mix will never make a great master because the EQ was overdone.  When we have to cut a lot of high end EQ, the song loses it's sparkle and clarity.  It also prevents us from using our frequency phase correcting tools.  I'm not saying you shouldn't EQ your mixes at all, just remember a slightly dull mix can be turned into a great master, but an overly bright one can't.  If you think your mix is too bright, it probably is.  

    65% of the hip hop songs we get in are super heavy bass, they go over 0 level, have no dynamic range, and the songs are usually distorted too.  The big bass you're looking for is added in mastering.  Overall song volume level is also added in mastering.  Please read and apply #2 above if you plan on submitting hip-hop or rap.

     Listen to the BEFORE mix samples on our samples page.  Notice how the mixes are either average brightness and average bass, or dull (slightly muffled).  This type of mix allows us to put it where it should be.

  • 4. Noisy Tracks / Boomy Vocals


     Problem - There's a constant low end hum or high end hiss on an instrument track, or the vocals are too boomy.  This track noise eats up space, clouding up the entire song. And the boomy vocals interfere with the kick and bass clarity.

    Solution - Roll off the bass in your vocals.  Use a high pass filter on your vocal track anywhere from 150hz-300hz.   Move around in that range to see what sounds best.  This will eliminate most if not all of the low end hum. And unless you're singing like Barry White, you don't need that low frequency in your vocal track. 

    Look through your entire song for noisy tracks.  Sometimes the cause is a mic being boosted to loud during recording or an instrument is gained/boosted to much.  Find your noisy tracks and either eliminate them or reduce their noise by EQ high or low pass filtering the track.
    Noise/hiss is easily noticed at the beginning and sometimes at the end of songs, when instrumentation is low.  It's not as noticeable when the meat of the song is playing.  The problem is, the noise is always present and is slightly clouding up your entire song.

  • 5. Kick Drum And Bass Guitar Collide In The Frequency Range


    Problem - Both the bass guitar and kick drum are in the same low frequency range (50hz-75hz).  They're washing (phase cancelling) each other out and there's nothing we can do about it in mastering.  You won't be able to hear one or the other very clearly.  Then there's a blank space in the frequency range from 75hz to 500hz.  This area gives a song presence, but it's empty.

    Solution -  When you initially arrange your songs, you have to assign if the bass or kick is going to be low frequency (50-75hz) and which will be mid low (100hz-250hz).  If the kick is low, then the bass needs to be mid low (and vice versa).  This is just the basics.  You could also have a mid low violin, piano, etc.

    Note:  This is probably more of an "arrangement" problem than it is a "mixing" problem.  You have to select the right instruments in the correct frequency ranges for the job in the first place.

  • 6. High/Sharp Instruments Or Vocals Have The Sharp Ssss Sound


    When mixing, remember that after we master your songs, they will be a lot more clear.  There's no need to make higher frequency instruments (synth, violin, chimes, etc.) real loud.  You'll hear them clearly when we clean and brighten the mix up during mastering. 

    If these instruments are still too bright after mastering, you can upload a new adjusted mix and we'll swap it out at no extra charge.

    If the Sss sounds in the vocals is the least bit sharp before mastering, it will be unbearable after mastering.  Apply a De-esser to the vocal track if needed.  This can be applied after mastering if you miss this one.  Not a problem.

Big Label Sound FAQ

  • Why Should You Choose Big Label Sound?


    1. First and foremost, you want your music to have that professional radio quality sound. Unlike most mastering companies, we don't just make your music "louder," we make your music sound "THE BEST IT CAN!" Why settle for anything less?
    2. We're the only under $35/song mastering company that in 2011, worked with two former Grammy award winners, charted top 5 on Billboard AND had videos of our mastered songs on MTV.  Professionals looking for a good price come to US first!
    3. We require only 50% down to start your project. You pay the balance after you approve our work. Your satisfaction is 100% guaranteed. Once you get your initial demos, if you're not happy with them, we'll refund your full payment. I've been in this business long enough to guarantee our mastering will sound better than 90% of the recording studios out there, regardless of what they charge.
    4. No hidden fees. Many of our competitors charge extra to balance the CD song levels, to upload new mixes, etc. We balance the CD song levels and allow two free adjustment sets (or remix uploads) per song. After that it's only $5 per song.
    5. I give each CD project the attention it deserves. I know first hand what it's like writing, rehearsing and recording a CD project for 1-2 years. I personally respect the time and work you've put into your CD project and will treat it as if it were my own, no matter how big or small it is.
    6. John Rogers does the final mastering on EVERY song project. No exceptions. This way you're guaranteed to have the same quality work as the cd mastering samples on our website. Beware of companies with an industry pro or a major label logo on their homepage; but unfortunately they allow a newbie $10/hr engineer to mix or master your CD. The CD you just spent 1-2 years working on!
    7. What our clients love most about our company is if we notice any major mixing errors with your song(s), we'll give you free mixing advice to correct it. Regardless of who does your mastering, if your mix isn't right, your masters won't be either. We help you get your mix right first!
    8. We're the easiest company you'll ever find to work with. We quickly respond to all of your questions or concerns. We're here to help you any way we can.
    9. 1,000's of satisfied clients love our work, and you will too. We also have samples of "real" cds and clients on our website.
    10. We use top of the line gear and our work sounds "current." Why would anyone even think of hiring the guy who worked with KISS or the mastering guru from the late 80's? They didn't even have computers or CDs back then!! You need an engineer with "current" experience!
    11. Full CD mastering projects are finished quickly, within 3-5 business days. 24 Hour Rush Service available for only $8 extra per song (mastering only).

  • What Is Mastering?


    What is mastering?  In one sentence, mastering is the final step in the song making process that is "supposed to" bring your song up to its highest quality level possible.

    I say "supposed to" because the finished product of each mastering engineer is going to be different.  Some are more talented than others and spend more time on (actually care about) your project, which will yield much better results.

    I say highest quality level "possible" because if you upload a song that is distorted and poorly mixed, the finished product after mastering will sound "better," but it cannot sound "great."

    Getting into more detail on mastering, each genre/style of music has a basic "commercial radio" sound that everyone is used to hearing.  Hip hop has a certain level of bass and punch the listener is looking for; and rock music has its own characteristics that greatly differ from hip hop.     The biggest reason for you to use Big Label Sound Studio for your mixing and mastering needs is because we know how each genre is supposed to sound, AND WE GET IT THERE!

    I worked with an engineer for a few years, who did nothing but major label work.  The mixes he got in were pristine!  They already paid $5,000 plus to mix each song, so they were already PERFECT.  All he did was make them a little clearer and louder, and he was done.  I swear he finish the entire 14 song CD in 60 minutes!  And charged $2,000!

    Here at Big Label Sound Studio,     we get in a lot of great stuff every week, but a lot of it is highly flawed. We rarely get in perfect mixes and have a ton of experience making average to poor songs sound good.  Highly flawed songs require a lot of knowledge, experience and a lot of work.  We do what it takes to make all the songs we get in sound the best they can. 

    At Big Label Sound Studio, when we master your songs our goal is to make them sound GREAT, not just "louder."  We'll work with you to make your songs sound the best they can.  And if mastering doesn't achieve exactly what you're looking for, we'll tell you what changes need to be made in your mix.  Then just upload the new mix and we'll swap it out with the old one.

    We hope to work with you on your next CD project.
    NEED RADIO QUALITY MASTERING?
    CLICK HERE FOR A FREE MASTERING DEMO!

  • What Steps Do You Take In The Mastering Process?

     

    I must start off by saying that any website can run down the list of what they do for your music in the mastering process.  Add EQ, compression, etc, etc.  The problem is, most mastering companies don't know "when" to use these processes or "how much" of them to use.  They have no standard of excellence they're shooting for, so basically you get your songs back "louder" but they're not "right." 

    We know this is true because roughly 60% of the material we receive is already poorly mastered by another company.  Most of our work is fixing other studios mistakes, making the songs sound like they should.  If you start with us to begin with you'll save time, a lot of money, and your songs will sound the best they can be.  

    Also, what a company charges has nothing to do with your final results.  If it's around $100 for an entire CD, I don't even have to tell you what you're going to get back.  Your songs should sound "better" but they won't sound the very best they can.  Believe it or not, we've even remaster songs the client paid over $100 PER SONG!  This happens several times a year. Update: Early 2011, we received a mastering job that was already done by World-renowned Universal Mastering studios.  You know, the one in all the magazines, that charges $99 to master one song.  The Hip Hop songs were mastered bright, brittle and narrow, with low bass.  An absolute joke, at any price!  We also received a gospel CD mastered by the same company, a month later.  Terrible!   Needless to say, we made the CDs sound the way they were supposed too, for 70% less!  Save $1,000 and go with US first!!

    Here's What Our Mastering Process Entails:

    1. We evaluate your songs.

    2. If found, we'll let you know of any major flaws in your mixes.  It's your option to correct them and upload new song files, or we can just work with the original song files and make them sound the best they can.

    3. We apply proper EQ (boost and cut), compression, de'ssing (if possible without dulling the song), noise reduction, bass enhancement, proper balance, stereo width, ambiance, phase correction, spectral enhancement and a level maximizing boost - based on the genre of your music.  This is done on a song by song basis.

    4. Your song is then reviewed in a car, on an Ipod, and on a boombox.  Notes are taken for each medium and adjustments are made to maximize your performance on each one.  This is an added bonus that no other company charging under $100 per song will provide.  I can just about guarantee this.

    5. Your songs are now initially mastered.

    6. The next day we open the song files back up and listen to them again with fresh ears.  You songs then get a final tweak and are finally finished.  This is yet another added bonus no other company will provide.

    7. Lastly, we work with you on any preference adjustments you would like us to make on your songs. Many times clients adjust their mix and send us a new one.  There is no extra charge for two adjustment sets.

    Why do we provide a few added free bonuses that no other companies do?  Because they are necessary for your music to sound the best it can.  And that's our goal!

  • How Much Headroom For Mastering Should I Leave?
    NEED RADIO QUALITY MASTERING?
    CLICK HERE FOR A FREE MASTERING DEMO!

    How Much Headroom For Mastering Should You Leave?

    This is the single biggest problem we see with mixes submitted for mastering.

    There are two factors to consider when exporting your final mix for mastering.

    A. Peak level - The absolute highest level the output signal reaches.
    B. Dynamic range - The range between the highest level and the lowest level of the output signal.

    PEAK LEVEL
    The loudest part of your song (peak level) should be around -3db to -5db (below 0 level). Note - Sometimes songs that peak at 0 level are fine, if it’s a quick hit (drum, hi hat, etc.) that’s peaking. But it’s better to submit below 0 level mixes to begin with, since there’s really no benefit for you to come in hot.

    Never let your levels go over 0db on the stereo out (main out) meter, AND never go over 0db on any of your individual instrument tracks or vocal tracks in the mix.

    Sometimes we receive songs that do peak under 0db, but the vocals or parts of the music are distorted because the "individual tracks" were mixed at +3db (over 0db). Nothing should ever go over 0db on any channel of your entire mix.

    The reason we need the level lower than 0, for example, is because if a song requires a frequency boost and phase correction, it can’t be done if you’re already at 0 level. We can’t boost or phase correct anything! You’re already maxed out.

    We get so many over level submissions, I've decided to show graphics of what your .wav/.aif file should look like.


    wav1
    This .wav file peaks at -6db. A little low but just fine. We can work with this.



    wav2
    This .wav file peaks at -3db. This is great.



    wav3
    This .wav file peaks at 0db, but is fine because there are no distorted flat
    spots in the wave. The high hats are hitting at 0db and everything else
    drops down, leaving good dynamic range. We can work with this.



    wav4
    This .wav is +3db over level. All the flat spots you see are distortion. You can't
    just jack up your levels past 0 and distort everything to make your song louder.
    It doesn't work that way. Do not submit a file that looks like this.



    wav5
    Once a week, we actually get at least one file (or entire CD) that looks like
    this! Let's call this the "trainwreck file." +6db over level and totally distorted
    from beginning to end. We can't do anything with this. No one can!


    wav6
    This is an interesting file. We get this quite often too. It's the "trainwreck file"
    above, gained down -9db. It's completely distorted, but its -3db under 0 level.

    A file where the mixer channels are over 0 level, but the main stereo out
    is -6db, would look exactly the same.

    We can't use this either. Once your song is
    distorted and over level, you can't just gain it down. All you're doing is making
    a distorted file quieter. You have to be under 0 level on the stereo out, and on
    all the mixer boardchannels when outputting the original .wav file. Unfortunately,
    many times the recording studio gives you the "trainwreck" file and you're stuck
    with it. Gaining it down yourself does nothing.


    DYNAMIC RANGE
    As a song plays, the output meter constantly goes up and down. Headroom (dynamic range) is the area between the peak level (when the meter is up) and the low level (when the meter is down). Roughly, 3db to 5db of movement between the high and low meter level is good, but this depends on the genre of music. With a compressed/limited or “over” 0 level mix, the meter will not go up and down more than 1db, if any.

    The reason we need headroom is because compressed/limited and over 0 level mixes already have music content removed from them, which greatly limits what we can do with the song. It would be comparable to a woman going to a hair stylist with 3 inches of hair. The stylist would be “very” limit with what she could do.

  • What Is Your Turnaround Time?


    Most of our mastering projects are finished within 3-5 business days.  Mixing projects, a time-frame would have to be discussed.
    RUSH SERVICE
    We can master your song(s) within 24 hours.  There’s an extra $8 charge per song.  Available only Sunday thru Thursday.

  • When Mixing Or Mastering, Do You Use Hardware Or Plugins?


    We have the best gear and software at our disposal.  We use a combination of hardware and plugins when mixing and mastering.

  • Can I Make My Own Redbook Master CDs For Free?


    Yes!  Burning your own redbook master CDs is very easy.  Save our fee and do it yourself!

    Below are two CD burning programs that include text embedding, and have no strings attached FREE TRIALS.

    CD-DA Extractor - This program is the easier of the two.  Much easier.  Just drag your files from the top window to the bottom window, and name the song and artist.  On the next page you can name the CD and artist.  This text will show up on CD players.  Note: You cannot enter ISRC codes with this program.

    Sony CD Architect     - The main reason you would choose this program is if you need to enter ISRC codes for your songs.  Also, you have more control over the start times of the songs, if you want the pauses between songs to vary. 

    Important note: Uncheck the copy protection check-box "Prot".  This can be found on the "Track List" page and will be checked by default.  If you do not, you won't be able to duplicate your cd masters!

  • Can You Add Song Names And ISRC Codes To My CD Masters?

    Yes and yes.

    To make the master CDs we need -

    1. Artist / band name
    2. CD Name
    3. Song names in order
    4. Pause between songs (0, 1, or 2 seconds - 2 sec. is standard)
    5. ISRC codes if you have them
    6. Copyright year (optional)
    7. Mailing address

  • How Does Vocal Pitch Correction Work?

     
    A vocal performance is a series of notes in different pitches. When holding a long note (word) that isn't supposed to change pitch, it should stay relatively around the middle of the key. If it stays in the middle then sharply goes up or down near the end of the note, that's when you hear an obvious off-key break.

    When we edit pitch, we can bend the end of the note so it stays near the middle. Now it's perfectly in tune. We can also increase or decrease vibrato.

    Sometimes singers run out of breath at the end of a line and those words are weaker, or sometimes a singer can't belt out certain words. In this case we can make the words 3-4db louder during vocal editing. We also cut down the volume on breaths that are too loud. We de's vocals too and can add effects.

    When submitting a track, we need only the vocal track, no music. You can't edit vocals with music playing along with it.

    I like to say it moves everyone up one grade. In some cases a grade and a half. If you give a "C" performance, adjusting pitch and vibrato can make it a "B" maybe "B+." The most important thing you must have is good time and some feeling in your vocals. Pitch and vibrato correction can do the rest.

  • I'm A Producer Will You Master Songs For My Clients?


    We have several recording studios, music producers, and a few online mastering companies that middleman ALL of their work to us.  They charge their clients $50-$200 to get one song mastered, then pass the job on to us for less.  These companies turn a nice profit and they're not even doing any of the work!  WE ARE!
    Actually, it's smart business since most companies aren't schooled very well in the mastering process.  They have the equipment and can "push buttons" (anyone can) but the results aren't that good.  Let Big Label Sound Studio handle all of your mastering needs!

  • Can You Master Songs That Are Already Mastered?


    Yes.  Every month we master songs that have already been mastered.

    We prefer not too, but sometimes the client has a poorly mastered version of a song, doesn't have access to the raw mix, and wants it to sound better.  We can make the song sound "better" but if it's very heavily compressed to the point of distortion, the finished product isn't going to sound very good.

    On the other hand, many times the results are surprisingly very good.  You'll never know until you let us try!

    Note - If you come to us first, you won't have to get your songs remastered.

     

  • Can You Speed Up Or Slow Down The Tempo Of My Song?


    Yes.  Most songs can be sped up or slowed down up to 5%, without any apparent change in the sound of the instrumentation or vocals.  Sometimes violins sound a little weird, but everything else is usually fine.

    Here's an example in BPM (beats per minute).  If a song's tempo is 120, a 5% change would be +/- 6 BPM.

    The higher the percentage or number of bpm, the better chance the song or music will start sounding warbley. I can't tell you exactly how the song will come out until we do the work. 


  • Can You Mix Or Master Songs In A Foreign Language?


    Yes.  We mix or master 3-4 foreign language CDs a month.  Spanish, Romanian, Arabic, French, you name it, we've done it before.

    We can also "pitch correct" foreign vocal tracks with very good results.  Even though we can't understand the meaning of the words, we can put them in correct pitch!

  • Can You Convert .Wav To .MP3?


    Yes we can.  If you're a mastering customer, we will do this conversion for you free of charge upon request.  Note: The MP3s will be without MP3 text.  There's an additional charge for this.