Berlin Aufnahmen [ViP]

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Berlin Aufnahmen [ViP] will accept song demo’s in the Minimal music genre at the moment.
So please check carefully if you demo do fit the genre(s) where Berlin Aufnahmen [ViP] is active.

Berlin Aufnahmen [ViP] - Minimal - Germany

Berlin Aufnahmen [ViP]

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Genre(s) : Minimal
Location : Germany
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Website : http://berlin-aufnahmen.com

Berlin Aufnahmen [ViP]

XL Recordings has two SIC codes: 7929 and 792.

The NAICS codes for XL Recordings are [713, 71]. This company is a Limited Liability Company and its classification code is 713. The second number in the classification refers to what type of company they are; this one being an S Corporation with assets of $5-$25 million.

XL Recordings is based in London, Greater London. This company was formed by Richard Russell and Tim Palmer with the goal of putting out records that are daring but not experimental or obscure. XL also does a lot of reissues and compilations for major artists like The Beatles, David Bowie, Bob Dylan among others – over 3 dozen to be precise!

There about 45 people work at XL Recordings.

Jon Wilkinson, the Head of Press at XL Recordings in London, United Kingdom is a University educated man who has been working with press relations for over 18 years. During his time at Technique Publicity he developed an expertise in publicizing artist and band music to help them gain greater exposure on radio stations such as BBC Radio 1. Jon’s clients include Daft Punk (French House), Foals (Rock/Punk) and Primal Scream (Grunge). In 2003 He also started managing publicity campaigns for The Rolling Stones UK tour that year including News International’s “Who Are You?” campaign which ran before every TV programme broadcast across ITV1-4 channels between July 2005 – April 2006.”

Scott Wright is the Head of Creative and Marketing for XL Recordings. Scott’s role includes design, art direction, marketing strategy development and execution across all platforms; including physical product distribution (CDs/vinyl), digital music sales & streaming services such as iTunes or Spotify, merchandise licensing to third parties through their online store www.xlrecordingsstore.com and other retail outlets around the world like Urban Outfitters in North America & HMV UK among others.”

Dan Coyle is the Head of Social and Marketing Content for XL Recordings.
He’s an American from Chicago who studied journalism at Northwestern University, where he was editor-in-chief of his university paper. He started a blog in 2009 to cover music industry news called “The Altered Sound,” which led him to work as Managing Editor at Pitchfork Media before joining XL Records in 2012

To master the setting for Mid-Side compression in mastering, you can choose to compress the side or mid more.
If your desired result is a wider image from having compressed the mids too much then make sure that when compressing with this type of compressor there’s enough left on either end of it and not all at one point.

Mid-Side EQ is a powerful tool that can be used to manipulate the stereo image of vocals and other instruments in your mix. It’s very simple: you just insert it on top of one or more tracks, click its “link” button, so they are all linked together with sliders (which save as automation), move each track up & down until what sounds best for them comes through, then create an instant volume change by adding or subtracting gain from this center channel where both sides come together into mono.

The lead vocal will usually need some kind of boost in the middle range because we want it to sound louder than anything else when panned to the center!

Mid-Side EQ is a superb tool for sound design, but it can also be used to create surgical enhancements. Mid-side EQs allow you to work with subtlety and precision because they have the ability to separate instruments in your mix by manipulating the width, depth, or stereo placement of each track.

Mastering is an art. When using a mid-side saturator, I’d separate the signal into 4 bands and then make the distortion on bass as well as vocals happen only in the middle of that sound (mid) while making it so that other frequencies such as body are spread or pushed to either side of this center point which makes them less intense but also more wide sounding at once.

This setup gives you sharp highs with hollow lows without sacrificing any power whatsoever–which means louder mixes for your listeners!

Mid-side EQ settings can be tricky to master, but with this easy tutorial, you’ll have them mastered in no time. If you want the vocals more focused and mono while still hearing all the low-end frequencies from a side-channel like drums or bass guitar, follow these steps:
1) Use a high pass filter on one side (usually labeled “high cut” or “low shelf”). Set it to 2kHz for example. This will remove any frequency below that point so what’s left is just mids without too much vibrato happening around 100Hz – 500 Hz range because some sound sources produce most of their energy there which would make your vocal seem woozy since those are close together frequencies.

Making your master Mid-Side is easy and can be done in a few ways. To make my Master mid and side, I’ll duplicate the track (making it an exact copy) use MSED by Voxengo, then mute one of each: The Mid on Track 2 and Side on Track 1.

After that’s completed, labeling them respectively, so you know which will come out as what later!

What’s great about this method is being able to adjust both width sounds with just these two tracks’ amplitude levels.

Mid/side EQs are great for adding depth, space, and width to your tracks. To make a mix sound wider, start by rolling off the lows in mid-channel while boosting highs on the side of that track from 20khz up when needed as you see fit depending on specific needs (such as cutting 60hz).

This process can be done either manually or using automation tools such as volume sliders which allow more scalability.

Mid and Side EQ in mastering: A powerful tool when shaping the stereo image of a full mix or individual elements. You can create width by changing the balance between mid-side levels, for example widening is achieved with high frequencies boosted on side-channel while attenuating low frequencies from your desired element’s main stem would widen it out too much, so you may want to cut some highs off that signal instead.

Mid and Side EQ in mastering is a great way to enhance the stereo sound of your mix. It does this by allowing you to work with surgical precision on frequency-specific parts within an audio signal, which will help reduce unwanted noise while still maintaining clarity.

Mid and Side mastering is a technique that allows the engineer to separate out left and right signals into two different images. When observing these two types of channels, it can be seen how the Mid-image resides at 0 degrees or centered while the side would reside at 180 degrees.
This process may seem basic but in reality, there are some unique routing methods that need to take place before this effect will activate correctly, which also requires specific plugins for each type of signal being sent from one channel/track on your DAW software-based recording environment.

You can use multiband compression to master your audio track using the FabFilter MB Multiband Compressor.

You need a range of frequencies from low and high, so you should set up some bands with this compressor by enabling it on each section separately for instance, “bass” or “highs.” This is done when setting parameters such as amplitude and how responsive the signal will be in relation to changes.

When doing mastering like this, it’s important that there are no loud areas because they may cause distortion if pushed too far before reaching 0dB once again. Although any change made could make other aspects worse while bringing out new parts (like changing dynamics), what matters most about mastering music is making sure nothing stands out negatively overall!

I also took my time to experiment with the attack and release of each band in order to make sure that distortion was eliminated. I also ensured transients were retained through these changes, which made for a more impressive kick, vocal, and high-hats. With oversampling enabled later on as well (which reduces peaking), you are left with an even better sound than before!

You can use the FabFilter Pro-C2 compressor to master your tracks. It has a mastering algorithm that is perfect for subtly compressing and amplifying different parts of the sound spectrum, such as midrange frequencies (which are typically located in vocals or guitars).

This particular compressor has many settings that allow you to customize it perfectly for your needs. For example, with this specific one I wanted my track’s mid-range section amplified a little more than usual, so I used its “Mastering” mode on these sections while using gentle compression over other frequency ranges from low-mids up until high-end highs. This resulted in an overall boosted vocal timbre without clipping any peaks too much!

The last thing I did was enabling low and high pass filters to affect only the mid-range frequencies. To make sure this would work, I enabled oversampling so that quantization accuracy is improved which will help avoid peaking later on. Lastly, in order not to clip any audio at all while recording it’s best to slightly reduce output volume during a session when you’re done with your song or project for final mastering purposes!

The first step of my process involved activating both low and high pass filtering within the Side-chain section; these were important because they would be affecting just the middle frequency range after everything else has been mixed together seamlessly once more. In addition, by being able to use oversample mode (which increases sensitivity) – as well

The best way to use low-level compression is through the UrsaDSP Boost compressor.

With highs tamed, I could now start amplifying aspects of the signal that I enjoyed. Knowing this plugin’s limiter would kind of be cheating, I made sure not to engage it and keep max gain at 3dB so that maximization and low-level compressors didn’t amplify too much either.

There are pros and cons for using a high level of compression on audio tracks in mastering: Pros include an increased sense/sensibility or punchiness which helps make claps more audible; Cons because some people think they sound “squished” and unnatural when overused. Listeners may also find them fatiguing after prolonged periods.

You can use the Weiss DS-MK3 for de-essing your master. The plugin came in handy when I was editing a recording session that contained an abundance of sibilance and wanted to tame it, without affecting other important frequencies like vocals or guitars as well.

This plugin is tailored specifically for mastering engineers’ needs by giving them access to frequency ranges they can tweak with ease. There are two versions available: one has six bands while the second offers 10 finely tuned filters which help find problem areas quickly before applying any kind of processing necessary; you don’t need to be an expert mixer engineer just yet!

One caveat about this product though – if you’re not careful enough on what range settings will affect, there’s a potential risk

When it comes to saturation plugins, how you use them will depend heavily on the signal that you’re saturating.

If you’re using a plugin on an individual instrument or sound file, for example if I wanted to add distortion without increasing volume because of limitations with my speakers and headphones, then one can apply significant levels of saturation while still maintaining fidelity by keeping the amount set below 1% THD (total harmonic distortion) as this is where most people start hearing audible artifacts in their music when they have any kind of equipment good enough for serious listening.

However, be sure not overdo it! Saturation should always help give depth but never cover up what was there before.

Saturation by Softube is a small plugin that only has 2 functions. The first function is the main dial with which you can introduce more harmonic distortion and compression.

You’ll notice when using the plugin that it really increases the perceived loudness of your audio track or mix, allowing for levels to be increased without making them sound too processed like other plugins such as Maximizer would do so in comparison.

When finding this plug-in to work well on something, make sure there are no drastic changes in level from one part to another because Saturator will cause those parts not affected much at all while others become very intense sounding due to sudden changes being introduced into frequencies where they did not exist before!

 

 

 

Saturation is a delicate balance of soft-knee compression and harmonic distortion. This balances out the dynamic range while simultaneously increasing its harmonics, giving you a fuller sound that’s more impressive to listen to as well as being louder overall.

If you want both gradual compression and mild distortion all in one go this is an excellent way for combining these effects into just one!

There are many types of saturation, or distortion. These come from the different electronic components that can be saturated–for instance, tubes and tape to transformers and transistors.

The different forms of these distortions introduce a variety of harmonic formations, points at which they saturate (or distort) sound waves depending on their audio frequency range; this is called “knee” compression. It’s important when using any type of high-level distortion to listen intently for what sounds best in your mix because you will find no one perfect effect that suits all situations!

 

Saturation plugins are a powerful way to shape the tone of your mix.

They can be used as an effect or just for mastering, and they allow you to push up hard-hitting frequencies with ease, making any track sound more aggressive and dynamic.

EQs though there’s no one set saturation plugin that’s best; each has their own flavor which is why it’s important not only use them but also try out various ones until you find what works best on your music!

The best way to make your music sound excitingly unique is by using saturation plugins.

They come in a variety of different types, so you can find one that suits the tone of your music perfectly!

You may want something simple and subtle like vintage tape or tube warmth for some classic analog style effects with increased low-end response, but if you’re looking for more aggressive distortion then there are plenty options out there too.

It really depends on what kind of mood/feel this particular track needs.

 

Learning how to use the FreeClip from Venn Audio in mastering is something you should know.

The plugin works best right before limiting, performing soft-knee compression that reduces unwanted harmonics caused by hard or brick wall clipping.

This form of distortion can make your music sound louder without changing it as much and improve its quality at the same time!

If this sounds like a good idea then I suggest trying out the Free Clip for yourself today so you too could be on board with these great techniques.

 

Lastly, oversampling is at the bottom and it’s really useful when you want to introduce clipping.

By increasing your oversampling, you can make quantization more accurate which in turn reduces any unwanted peaks or over-exaggerations that may be caused by pushing a signal too far.

The routing of this upsample configuration could change between 3 settings as well.

The free Refine EQ plugin from LKJB is a unique program that can be used to enhance the sound of your music.

This program utilizes three different channels, Warm, Space and Normal as well as other features which are not disclosed by its developer but all work together in order to create an effect for you’re listening pleasure.

Transient shaping is the secret to a punchy sound.

Punch utilizes transient shaping in order to bring transients forward, but with variable frequency so that you can use it aggressively and still not over-process your signal.

 

 

Analog Obsession has been making great analog emulation plugins for years, and their newest plugin is no exception.

Fiver is a 5 band equalizer designed specifically to be used in mastering or other broadband changes that are needed as well.

Each curve can be individually bypassed with the included Eq Curve Analyzer feature if you want to see how it will affect your signal before actually applying any of its effects on your music!

The curves here aren’t too terribly complex but should work well when smooth changes need to happen across the frequency spectrum during mastering or mixing sessions.

 

The Analog Obsession Drive plugin is a powerhouse of tone and features.

Some additional functions include bypass for the entire plugin, gain compensated drive with which you can add some distortion without increasing amplitude, level trimming to keep your signal strong even if it gets too high or low as well as 4x oversampling when clicking on their logo in order to provide a professional sound quality no matter what kind of music you are playing through this plug-in!

 

The Air Shelf EQ from Bertom Audio has a lot of useful functions to use for mastering.

The first dial on the plugin is really simple – it amplifies high frequencies, but you can also attenuate them too!

This is great because in many cases with mastering vocals or instruments that have come out sounding over-saturated and distorted after recording, sometimes lowering some highs will help get back clarity without losing volume in other ranges.

 

What is the difference between Boost and Tame?
Boost works on low frequencies while taming high frequencies. From our own experimentation, we found that there are two ways in which one can alter sound:

By amplifying it or weakening it.

The Bertom Freq Analyzer has a knob called “boost” to amplify certain frequency levels of your music – but not all!

If you want more bass for example, then try pushing up the boost button; if you’re looking for some clarity at higher notes (perhaps because everything else sounds muddy) go ahead and push down on the tame dial instead.

 

The future is here, and it’s in your DAW! The NOVA EQ plugin from Tokyo Dawn Labs will take the master of any track to a new level.

Here are some quick tips on how you can use this amazing free tool for mastering:

On the left side of your screen there are low-pass filters that may not be useful when mastering but they’re still worth checking out.

NOVA has 4 bands which each have individual controls or settings that conforms dynamically with other parameters such as volume changes and crossovers.

 

The plugin enables you to control the output tone of voice through the settings for your bands.

You can enable them, set their respective filter types and Q value, center frequency as well as gain and threshold values; attack rates and release times are also available for global tweaking.

In addition to that which is able in this window there exists a secondary top section that allows you adjust amplitude levels as well.

The four different band outputs have independent controls but all share globally-set gains or thresholds with one another between them on an equal basis (as opposed to having each individual setting its own).

 

Gain matching, or adjusting the level of dry and unaffected mixes within a track.

Turning on this feature helps prevent clipping in audio tracks that have been mastered but still need to be balanced with other sound levels throughout the album as well.

This is essential for those seeking mastering services from professionals such as myself!

 

 

 

The Stealth Limiter from T-Racks is an excellent tool for mastering because it has a transparent sound.

If you’re looking to finish the master, I recommend using this limiter! The settings are easy – and by introducing just a mild amount of gain, we were able to get the levels up around -10 LUFS which will be perfect for most streaming platforms.

We then reduced our output level in case someone uploads online – giving us some extra protection against all those nasty noise artifacts that come with encoding.

To make sure your music sounds as accurate as possible when encoded, use high oversampling rates so there’s no distortion caused by quantization whatsoever!

I always use the Stealth Limiter from T-Racks for mastering.

It has a great way of making music sound loud and clear without sounding too harsh or digital, which is perfect when it comes to creating something that will be listened to on an inexpensive pair of earbuds as opposed to expensive studio monitors.

 

 

The Quad Limiter from T-Racks is a fantastic way to bring out sound in your mixes.

For mastering use, it’s important that the output tone of voice should be knowledge and not causing any peaking.

I used this limiter to make sure no peaking was occurring, but mainly to control the signal based on frequency.

It has 3 bands that separate low, mid, and high without amplifying them too much so as not distort anything by accident or intention! The lows are controlled with a slightly longer release time than the other 2 bands because these tones can easily cause distortion if you’re not careful enough when using compression.

The Master EQ-432 is a great tool for mastering. It provides high-quality sounds that make your song sound smoother and full of life.

Wanted to make the kick stand out, so on the mid-channel, I boosted 120Hz by 0.5dB after listening intently and deciding what adjustments needed to be made in order to achieve my desired result.

One way to achieve a better mastering sound is by using the Master EQ-432 from T-Racks.

I followed this set of steps: first, on the mid-channel, I boosted 120Hz by 0.5dB.

Now you can hear more bass in your music!

Next up was my side image – for that one, I amplified 570Hz by 0.5dB and applied 4kHz by 1 dB to make it balanced with other instruments in the track because there seemed like something lacking before when listening back through headphones or speakers at home (I also used 21 kHz as well but just put it at 1 dB).

When all these additions are done correctly following each step closely together then you will have mastered an amazing song that sounds great!

One of the best ways to get a sound that is bright and punchy, but not too harsh or in-your-face, is by using two parallel compressors with one set at a lower threshold.

One Mastering Processor will be used for compression while another will act as an additional level of limiting for any clipping which may occur during mastering.

So first I tuned out the original signal being sent from my mix bus compressor into this secondary channel, so it’s only half as loud before hitting its limiter counterpart on side B – since we want our levels consistent across both channels when everything comes back together later on down the line!

One of the most complex and interesting things you can do in mastering is to parallel process two different plugins.

You may be asking yourself, “Why would I want these processors running simultaneously?” Well if done correctly it will add a whole new dimension to your mix.

Using compression and saturation has given me an entirely new sound that sounds smoother than before with more highs which makes for great listening!

Using the VC60 Compressor and Saturator X parallel in mastering is a rewarding experience.

I began by using some saturation to make the effect more pronounced, then when it was sounding just right enabled oversampling for an even fuller sound with distortion that sounds beautiful.

Afterwards I used mid-side processing, so each side of my mix could have different amounts of bass/treble present based on what they are meant to represent: either drums or vocals respectively.

 

The One is a dynamic yet delicate device. It was designed to include everything you need for quick and efficient mastering without sacrificing quality, but it can be used subtly in your chain of processors to really augment the sonic qualities of any recording.

I added some air for those high-end frequencies which are often lost on this type of mix; some focus that clarifies the mids while still maintaining clarity even at low volumes.

A small amount of body so as not to overwhelm with too much bass or muddy up all detail below 4kHZ  push so quieter aspects to come forward and maintain their integrity when lower volume levels are required due to space constraints such as headphones or car stereos.

I know you want to have a better-sounding master, and T-Racks is the way.

The One – Mastering Processor from T-racks only takes one click of a button for your track or album!

I increased the gain without triggering my limiter as well as introduced some moderate transient expansion with analog emulated harmonic distortion that will help it translate over smaller speakers.

Lastly, bass punch augmented our kick drum and thump on the bass guitar giving this mix more impactful sonic power

There are a lot of ways to use the De-Esser in mastering. For this particular instance, I used it subtly with some specific settings that were tailored for controlling high frequencies like sibilance.

This is what worked best when using moderate release speed and 3 bands isolating frequency areas while staying soft enough so as not to detract from other instruments or vocals on an album track you’re working on!

One of the most powerful features in T-RackS is its Linear Phase EQ. It’s a really cool tool because it allows you to affect low frequencies without altering their phase, which can otherwise lead to issues with things like canceling each other out and making vocals sound muddy or too boomy.

I’ll start by setting my linear phase mode just so that as we’re cutting we know what part will be affected–so anything below 80Hz on side-channel won’t get cut at all!

Then I use this knowledge about where our cuts are going when deciding how much weight they should have: if there needs more room for something else (like the vocal), then let’s make those basslines softer;

After some tweaking, I finally found the perfect tone for this song. Just a few minor adjustments to bring out those beautiful high notes and round off that crisp low-end beat.

The EQ should be used as an amplifier of your voice’s original sound in order to create more drama; so don’t use it wrong!

Audio production software T-RackS is an often overlooked and underappreciated program. It provides a lot of flexibility while still keeping things simple, which is why we wanted to take a look at this rarely discussed platform in order to establish the best signal chain that sounds great.

The 80 ohm headphone version is more for monitoring and fun listening use, and the 250 ohm headphone version is better for critical listening applications. … A similar quality of bass is still present on the 250 Ohm model, but the highs are more harsh and strident.

This is a question that often has many different answers, depending on who you ask. Some say the best ohm for headphones should be between 8 and 600 but this can vary with headphone models. It’s said to have an impedance of between 20-40ohms if your ultimate goal is casual listenership while 64 or higher may work better suited for audiophilia.

If you’re looking for a good sound experience, the higher your ohms headphones are will usually mean better quality.

That is dependent on if you have an amp to provide power and if it has enough watts of power behind it though.

If not, plugging 100-ohm headphones into a laptop won’t get you what you expected because most laptops only support 32-ohms anyway

The 16 Ohm impedance is lower than the 32, so with all other things being equal it can sound louder.

However because of this they require more power from your amp and put bigger strain on them which may lead to quicker degradation in quality of music as well as increased risk for hearing damage.

There are two kinds of speakers, high impedance and low.

The electrical signal is sent through the speaker by a current that travels from one end to another inside it which creates an electromagnetic field around its surface with sound waves radiating outwards in all directions.

When there’s too much volume for the small diameter pipe or when you put your finger into the water flow then more pressure builds up at either side until something gives way such as bursting pipes or ear drums respectively.

A lower impedance speaker allows more electricity which means it can handle louder volumes without distorting due to excessive power being delivered than higher resistance models because they require less voltage so if I was looking for my first set of really good hi-fi speakers I would want them be 4 ohms rather.

Low impedance headphones are often louder because they contain less resistance in the circuit which translates to more current and voltage. This is what we call a “dirty” signal, or one that has significant distortion during playback.
The earlier studio models were high impedance (250-600 ohms) due to their sensitivity requirement for monitoring audio without any interference from nearby electric equipment. The low inductance of modern components means there’s not enough power between these two types of headphone outputs – so most people prefer using low impedances when possible!

The impedance of a headphone is the resistance to current flow.

When this number gets low, your headphones will require less battery power for high volume levels.

how do you know what type of device you have?

It’s important because if it has more than 25 ohms, then that means its not compatible with lower-impedance devices and vice versa!

Do high impedance headphones sound better?

Hmmm, you may be wondering just what the difference is between a pair of earphones.

The truth is that there are many differences but one major factor in how they will sound to your ears could be their resistance levels: 32 ohms or 250-600 ohms.

High Impedance versions have less moving mass meaning its lighter and has more sparkle than low impedances with higher bass definition and wider sounding stage allowing for greater detail as well…

The process of encoding a master changes the output later in the mastering chain.

If you’re uploading your master online, there are many good reasons why you should reduce input as much as possible to ensure that when it gets encoded into an MP3 or other format for streaming purposes, distortion doesn’t occur from clipping and peaking levels being too high on your audio file.

Your masters will most likely be uploaded at some point without intent whether they’ll get smoothed out by reducing any potential peaks so that no one has their ears blown off while listening!

Limiting is not always the solution to a problem. For example, you might find that it’s too aggressive or harsh once your master has been amplified with this limiting technique.

This can happen because our ears hear different frequencies differently at different volumes; so if we have boosted the overall signal of an audio file by adding more gain before applying compression and/or limiting, then all subsequent processing will respond accordingly in terms of frequency response when these processes are applied later on during mastering- each process will change how loud one another sounds as well

But be warned: boosting any given track’s volume may cause distortions elsewhere due to changes in ear perception (eardrum sensitivity).

There are many good reasons why you should reduce the output of your master.
The primary reason to reduce your masters output is to ensure that the encoding process doesn’t alter the amplitude enough to cause clipping or peaking distortion.
Your master is most likely going to be online at some point, whether you intended it for it or not.

When you upload your master into YouTube, Soundcloud, Spotify and other services; they will get encoded into a lossy file like an MP3 file which can distort sound quality over time with heavy use such as streaming music on repeat all day long (or worse).

This will reduce your master’s accuracy, and it could cause distortion.
If you’re close to 0dB in amplitude, this change might push your master over the edge of clipping into a distorted sound; that is not what we want! To avoid that from happening, try reducing the output to -1 or even -2 dB True Peak. That way when changes happen within the signal’s amplitude level they won’t be pushed too far above zero decibels (0db).

To avoid distortion when limiting your master, you should keep in mind that the limiter is pushing the signal into a brick wall ceiling.
This can create unwanted distortion in myriad ways and make it harder to maintain high quality sound for an extended period of time.

The best way to avoid this kind of problem is by using oversampling as well as true peak detection so there’s no chance amplification exceeds 0 dBFS or below -10dBFS..

Oversamples assist with minimizing any transient bursts which might cause clipping if not dealt with properly but are used sparingly because they take up more space on disk than standard samples.
True Peak Detection (TPD) helps ensure peaks never exceed +/-0dB FS without risking any type of digital saturation;

To get the most out of your audio, use 3 limiter functions: oversampling, lookahead and true peak detection.
Oversample to prevent distortion when you push signal and limit with a combination of these two tactics so that it sounds better than ever!

Oversampling reduces the peaks of a signal, reducing noise. Lookahead allows for more time before clipping distortion occurs, and true peak detection automatically adjusts to avoid it.
These settings have disadvantages so listen carefully when using them.

When mastering your processed signal, it can be helpful to monitor both the input and output levels.
Monitoring within a plugin will show how much of an effect that particular processing has on the sound before sending it out for listening via headphones or speakers.

Most plugins have 32-bit internal engineering which means they are able to go above 0dB without clipping if you reduce them below this level first by using controls like volume sliders at their outputs rather than adjusting individual frequencies with amplitude modulation such as compression or gating inside EQs and dynamics processors.

Even though it’s good to get into the habit of carefully measuring your signal, you may need headroom for future plugins.
For example: clipping distortion could happen if too much compression happens without any room in between each successive plugin.

So many people ask me, “How much headroom do I need when mastering?” The answer is 3 to 6 dB.
It’s important that the max peak of your signal in a digital system be between -3dB and-6dB; this ensures you have enough room for processing as well!

The more headroom you have when mastering, the less likely distortion will be introduced.

If you started with 1dB of headroom and your saturator or EQ amplified the signal by 2dB in order to give it some boost while processing; then there is a chance that once processed, clipping could occur.
If 6 dBs were left untouched and only 4 dB was used for processing purposes via saturation/EQ boosting this risk would decrease significantly – as long as we are not at an average volume where compression can already do its job effectively on limiting peaks from occurring due to over-excursion!

How can you ensure your mix is mastered properly?
Knowing how to stage a master includes leaving enough headroom for processing, monitoring input and output of plugins, understanding when to limit without distorting the signal.

If you’re staging a record it also helps reduce limiter’s output before uploading it to a streaming service.

TRackS One is a mastering plugin that helps you take your music to the next level.
With just one plugin, it’s perfect for anyone who wants to master their demo or any other recording but doesn’t have time to tinker with multiple processors.

This plug-in includes an EQ band with three settings and two limiters: standard and transparent; dynamic range control tools like attack, threshold/release knobs; stereo imager knob which can be used on mono tracks as well as stereo recordings including compression of each side in order give more width if needed; high frequency booster at 12 kHz up until 18kHz (with emphasis) along with low frequency transient shaper down around 60Hz – 80 Hz depending on what suits best.

This powerful plugin can really augment something as complex as a signal chain, by increasing the low-level details and creating an overall more impressive sound.

The NewFangled Elevate is a limiter, clipper and transient shaper that can take your sound to the next level.
This unique plugin has an incredible feature where it separates out each band of frequencies for 26 total bands – limiting only individual ones at any given time.

So if you are looking for more control over how much volume or distortion in certain parts of music without affecting other ranges this would be perfect!

Furthermore, the limiter and transient shaper are two great ways to shape your sound.
In addition, whatever you lose in volume can be re-introduced with their own specific functions (the Limiter) or other plugins like a compressor for example.

Like the limiter, they have 26 bands that can be affected individually making it incredibly precise when shaping volumes of frequencies as well!

The u-he Satin Tape plugin is one of the most popular options for mastering, due to its ability bring a unique and classic sound.
On top of that, it offers more control over your signal than many other tape machine plugins.

You can use this plugin for mixing as well – just take care not to make all tracks too similar in tone or you’ll run into phase issues when combining them during mastering thanks to conflicting frequencies across wide swathes of audio spectrum.

With some manipulation from crosstalk between channels on either side (as simulated by stereo widening), frequency modulation with wow/flutter settings at both low and high ends (to simulate a bit less stability) ,and maxing out headroom dials so dynamic range increases;

If you’re not sure where to start, don’t forget about the amazing mastering presets that come with this plugin.

The FabFilter Saturn 2 stands out as one of the best if not the best digital saturator.
It allows for 6 bands, each of which can emulate various forms of distortion from tape, to tube and transistor.

This version also offers subtle distortion types that are perfect for mastering; it affects signal left or right or mid-side giving you options with more control over your sound’s final saturation/distortion settings.

What makes this plugin great is the program dependent routing you can create.

With it, you are able to make functions contingent upon other functions which produces much more realistic sounding distortion – a result that many musicians crave for!

First of all, the FabFilter Pro Q3 is a great EQ that offers up to 24 bands.
Each band can be made dynamic and controlled with accuracy. Furthermore, linear phase mode makes it an excellent option for mastering when you need to attenuate aspects of the low frequency range.
Without introducing unwanted changes in Phase response like we would get from other types or filters such as Butterworth Filters which are more commonly used in studio recording situations.
Where they will introduce distortion at high frequencies if not set properly because being non-linear by nature doesn’t allow these filters work well across all frequencies whereas Linear Phase Filter allows them too so this type of filter should always be preferred over others especially when working on mixes that have been mastered already since what’s recorded.

The mid-side functionality is a great feature because it can be used to make your low end mono, expand the stereo image of your sound, and control how well phase relationships are between the side channels.

The right limiter can be used to protect your sub-bass frequencies during mastering.
In order for this process to work, the limiters release needs to be long enough so that it doesn’t compress these lower frequency sounds too much or else they will become less prominent.

To find a good time range of when the compression should start and end you need patience in finding what works best fit with your specific track by adjusting accordingly from 50ms up until 200 ms.
Where most distortion occurs if not timed correctly at all times using an experienced ear as well as visual mixing software tools on top of listening closely while monitor volume is high but still able touch soft regions without hurting ears due lack audio level damaging hearing acuity after prolonged periods because sound

Having a mono sub frequency on your master can be extremely helpful.
More often than not, it is very beneficial to the mix or mastering of tracks for low frequencies to be in stereo so that they are easier heard and distinguished by listeners.

I like using an EQ with high-pass filter when doing this because less phase cancellation will occur as well which makes everything sound much clearer and present.

I’ll carefully listen as I adjust the slope of the filter and cutoff frequency. You can also move this filter above your sub frequencies up to 130Hz, but if you do any more than that it will make your master sound thin.

Wow, did you know that sub-harmonic generators are really common and easy to use?
The Waves Lo-Air is a good example of this type of generator as it adds harmonic content below the fundamental frequency and creates an impressive subfrequency range.

So what does all this mean exactly? Well firstly it measures the lowest frequency in a signal which we call its fundamental or root tone; then generates another one beneath it!
That’s how they create such strong bass frequencies too so watch out for those booming tunes from now on.

The process of getting a distorted tone is very different from when you use harmonics.
Instead, the frequency will be below the fundamental instead of above it. When mastering with lo-air plugin, make sure to use it subtly and ensure that any phase inversion problems are fixed by clicking on “align.”

Think about it – distortion can make a lot of different kinds of sounds better, but one is particularly notable.
The harmonics generated by distorting your sub frequencies makes them more perceptible to the human ear!
If you’re having trouble hearing those deep bass tones in your mix for example, try adding some harmonic distortions and see how they affect the sound.

If you want to thicken your sound, not just make it easier for people to hear, use a saturator.
This will both distort and compress the range making it louder as well as fuller. To do this try using Saturn 2 from FabFilter or another frequency-specific saturation plugin like Waves’ distXpander

How to make your Sub Bass sound louder and more impressive?
The first step is simple: just amplify it. The easiest way of doing this, using an equalizer with low-latency linear phase mode enabled, would be by amping up the mid frequencies between 20Hz and 60HZ.
Using a bell filter at moderate Q value will help you do that effectively in no time!

Additionally -if desired-, cut out any sounds below 15Hz as they can cause some serious issues when coming together with other subsonic noises from higher frequences such as 30 Hz or 40 HZ for example due to phasing cancellation which we want our bass not to have at all (this should also result in better overall sounding).

Be sure to use linear phase – otherwise, you’ll alter the phase and in turn, the amplitude of your low frequencies.
I like to use FabFilter Pro Q3 for this because it is a well-rounded EQ with all necessary functions such as high/low pass filters and parametric eqs., but if that doesn’t work best for what I need then there are other great choices available too – just be careful not to make any mistakes!

There are many reasons why you should use mid-side limiting on your master.
With this technique, the side channel will trigger compression more often than the center and to a greater extent.

The result is that when there’s a lot of compression happening in one direction (say left) – it’ll be less compressed as opposed to right which has been dampened by being constantly well-controlled with low levels of compressor activity during most parts of song for example.

This causes an interesting dynamic relationship between both channels where some frequencies can sound louder or quieter depending on what part they’re coming from since each speaker takes up different space around us!

The use of a compressor or limiter with the ability to do Mid-Side processing can be an excellent way to create natural sounding sound and dynamic stereo expansion, making for finer mastered tunes.

Program dependent processing is really cool because you can dynamically manipulate the incoming signal.
For example, in Saturn 2 by FabFilter, there’s a distortion algorithm that changes depending on amplitude and frequency information from the input signal.

It has an analog quality to it too which makes for some truly unique sounds!

The master, when processed with a dynamic and program-dependent approach will sound more complex. This type of processing makes for a sonically nuanced sounding professional quality mastering job.

How to combine maximization and transient expansion during mastering?
A combination of unique processing can add a lot to the overall sound; this is definitely the case with using both maximizing followed by transient expanding.
The two effects work together well, as one increases loudness while maintaining transients.

Boost from URSA DSP achieves these functions nicely so you may want to try it out for yourself!

The punch function is a great transition that will help make the track sound fuller.
If you’re looking for something specific to fix over-compression, use Inflator by Oxford Sonnox and then follow it with Punctuate by Newfangled Audio!

It’s best to avoid these plugins if you want to avoid phase cancellation and the negative effects that it causes.
Delay-based stereo imaging plugins look cool but can affect your master in a really negative way; they work by delaying part of the signal, which causes phase cancellation.

Typically it’s best to avoid these plugins if you want to avoid phase cancellation and the negative effects that this has on sound quality – specifically as an effect caused by delay based processing (which is what such plugin does).

Listen up, y’all. As an alternative to delay-based stereo expansion,
I recommend using mid-side processing to affect the amplitude of the side image or attenuating the mids in order create greater width and ultimately more immersion within your music!

The concept works whether you’re using equalization techniques like compression/saturation – so get on it right away before we have a problem with our sound systems from all this excess echo that’s going around these days (hint: echoes are actually good for reverberation).

Mastering with a stereo compressor affects all aspects of the soundtrack.
But if you are mastering pop or hip-hop, you may not want to compress the low frequencies.

Use an internal sidechain to determine which frequencies get compressed and let your lows pass through unaffected!
This way as mids and highs get squeezed in compression, your bottom end retains its impressive amplitude by comparison.

You can do something similar by using a multi-band compressor and only affecting the high ranges while leaving the low bands threshold high enough to avoid compression.
Experiment with these two types of compressors to see which one works better for you!

Mastering is an important part of the creative process for any musician. It can help make a song more dynamic, full-bodied, and captivating to listeners.

But should you master your work too heavily?

Well don’t go overboard: if streaming services normalize audio they might turn up peaks past 0dB which could then clip when the track has been normalized during playback on these platforms such as Spotify or Apple Music.

It is important to keep the dynamic range of your master from being too wide.

For example, if you have a peak at -2dB and your master level is set as 18LUFS (-18 LUFS or loudness units full scale), then when increasing it by 4 dBs (adding +4 decibels) the peak will be 2dB over.

Granted, streaming services account for this with their own internal limiter which can vary in quality depending on how well its been implemented but typically should not need any manual intervention unless trying to achieve specific sound effects that may require heavy limiting such as rock drums or metal guitar riffs.

 

 

Have you ever wondered how streaming services make all the tracks on their service play at the same volume? This is a question that many people have asked, and most of them are surprised to find out there’s an answer for it. Loudness Normalization is what these companies use in order to ensure that every track sounds as good as possible.

When you’re mastering music, keep in mind how this will affect your track since many services normalize audio to roughly -14LUFS. This means that if it’s mastered louder than -14 LUFS like a standard of around -10LUFS or above; then they’ll turn down your master about 4dBs so it matches with other songs within its genre and doesn’t leave listeners feeling fatigued from hearing loud sounds too often!

If you’ve been mastering your tracks super-loud and sacrificing dynamics to do this, it helps to know that they will be turned down regardless. That is unless your track falls below -14LUFS which would make the difference in volume smaller than 4dB.

When it comes down to vocals, the lower frequencies are important because they can both enhance and hinder.
For 100Hz+, these will provide power and body in your mix.

But anything below that frequency is going have an adverse effect on what’s happening with those aforementioned qualities – plus there’ll be noticeable plosives or microphone rumble (especially if you’re using a condenser). These things are going cause overall issues for not only yourself but also everyone else who has part of their sound coming from you as well!

This is a great guide on how to clean up your vocals!

To start, you should use an EQ and cut the frequency range of 100Hz.
This will reduce any unwanted noise in the lower end spectrum such as background interference or amplified frequencies from other sources like instruments that are playing at similar levels. Additionally, using natural phase options can help eliminate some problems with phasing if there’s too much cancellation going on when it interacts with another instrument played higher than this vocal track for instance.

To de-emphasize vocal frequencies before compression, you can use a parametric or low pass filter to remove the frequency range from your signal.
This will make the compressor less likely to affect that particular part of the spectrum and add its timbre – which is usually desirable when using it as an effect in itself – while also making any other EQs after more effective because they won’t be cutting out these areas.

For example, say I don’t want significant amount of compression occurring at 2kHz–or in other words, I don’t want my voice’s tonal quality affected by this type of distortion–I could cut this area with a parametric filter beforehand so it isn’t included within my sound source.

The vocal range that you want to emphasize is the one before it gets compressed.
You would use an EQ to emphasize this frequency, then compress your vocals accordingly. If reducing these frequencies made them sound unbalanced, a second EQ should be used after the compressor so they can add back in those tones into their original position.

What is the best way to emphasize vocal frequencies before compression?
If you want a particular frequency or set of frequencies to be compressed slightly hard than others, you can use an EQ before your compressor.
This will create a very unique tone that wouldn’t have been able to achieved otherwise!

For example, I may want to boost 2kHz in order add clarity and more sharpness into my vocals; these boosted ranges should then be heavily compressed for balance purposes which would result in increased coloration as well.

To make a song sound more powerful you can apply an effect called pre-emphasis.
This is achieved by boosting frequencies before the vocals get compressed, causing them to stand out when it comes time for mastering or converting your track into mp3 format.

Once again keep in mind that this will not have much of an impact on lower quality recordings so don’t waste time with high resolutions if they are too low fidelity already.”

A limiter is a powerful tool that can help you control dynamics without introducing unwanted distortion.
When using compression to tame vocals, it may sometimes be necessary for the compressor to introduce some level of saturation in order do its job effectively and keep up with all your vocal’s harmonics.

Since this would increase the amount of noise within your track, one option might be use a limiter instead; as limiters are designed specifically take care of high frequencies (20- 20Khz), they’re more suited for addressing artifacts caused by aggressive compression while still retaining cleanliness.

Limiting vocals is a delicate art.
There are different types of limiting, and it’s important to know which one you’re using in order for your vocalist not to be pushed too far into the mix or become under-powered when their song mixes with other instruments.

If you want an intense effect on the level threshold, then try setting up an L2 like this: set the mode switch (the top left button) at “Modern,” turn off Auto Gain Compensation by clicking that same button again so there’ll never be any clipping distortion; adjust Threshold until all peaks seem linear; raise Output Level as desired without going over 0dBFS Max Limit!

There are many different ways to compress vocals in the studio.
Some people prefer a more manual approach, while others want something that is already programmed for them and offers presets tailored specifically towards their vocal sound.
FabFilter Pro-C2 has a great set of algorithms designed from top to bottom with lead vocals and background vox in mind – which will provide you with some good starting points depending on your output needs!

The Softube Drawmer S73 also features an automatic knee setting as well as an auto ratio function – this changes based on what type of input it receives so if you’re looking for something straightforward then these might be two perfect options to look into next time around!

Ever wondered how to use compressors with vocal algorithms?
It’s actually pretty easy. All you need is a compressor and the right settings for it!

One of my favorite ways that I like to utilize one when mixing vocals, especially when there are too many people singing at once in order to make them stand out more than they would otherwise be able.

If you’re looking to de-ess vocals in a more complex way than your typically de-essing, then compression might be the answer.
Compression can help reduce sibilance by boosting certain frequencies and lowering others.
This is done with an internal sidechain option which some compressors offer – like Fabfilter Pro C 2 or Weiss DS1 MK3 for example.

Compressing vocals can be tricky because you have to know what frequency range the sibilance is in.
Generally, it’s 5-10kHz but could vary between 4 and 12 kHz depending on who’s singing or how much they’re screaming into a microphone.

One way to isolate just the high frequencies would be by using an internal sidechain (a filter that only takes audio input from inside of its own plugin).
Once isolated with compression as needed, this should help diminish any unpleasant hissing sounds caused when speaking words like ‘s’ or ’t’.

How do I squeeze vocals with optical and soft-knee compression?

Optical compression is a great way to recreate the sound of an old tape recorder.
It’s perfect for squeezing up your vocal, as well since it has that gradual but noticeable effect on volume levels.

To achieve this yourself, start by choosing various settings for your compressor – then create a soft-knee setting and lower the threshold until you’re achieving around 8dB worth of compression.

Compression can be used to make vocals more dynamic and vibrant. Opto, or optical compression works by using a light-sensitive resistor which is gradually reduced when the input signal becomes louder than its set threshold level.

Soft-knee compression does not have this exponential effect on your signal’s gain as it approaches its maximum limit like opto; instead there will always just be some degree of amount applied at any time no matter what volume you’re playing at really (although still fairly gradual).

The ratio for these compressors should ideally fall between 2:1 and 4:1 depending on how much control one wants over their sound in terms of dynamics range – less control means that softer parts are compressed slightly whereas with higher ratios they would get.

One way to control the vocals in your song is with advanced compression.

Start by setting a 5:1 ratio, and selecting an attack time of 0ms – this will ensure that all dynamics are being compressed.
Increase input volume by about 3 dB while simultaneously reducing output levels by similar degrees (adjusting so as not to exceed maximum peak).

This should drive the vocal into the compressor without overloading it- or you can use these settings for other aspects of your mix like drums or bass lines too!

Have you ever wanted to control your vocals? Well, with advanced compression, that is possible.
First of all, use a medium-length release around 300 milliseconds – this will hold onto the vocal for long enough to control it without losing its intelligibility.

I love to use low-level compression for adding detail and thickening any instrument.
It brings up quieter details while reducing the dynamic range, which increases amplitude.

This works similarly to saturation but instead of generating harmonics, it amplifies existing signals (if this plugin is used sparingly).
I’ll reduce depth on OTT by Xfer records when I’m using this so that there’s a minimal amount of downward compression with 0% set as an option in case you need more control over your levels after applying these changes.

Using compression can be a useful strategy for thickening vocals.
In this article, we’ll show you how to use low-level compression in Audacity & detail the process of dragging bars and amplifying the lows slightly since it will help make or thin vocals sound thicker.

Thicken vocals with inverse equalization? Inverse EQ is a process of matching the frequency response to another signal via an external side chain.
It can be great at indirectly thickening vocals and will make your vocal cut through a mix.

One way you can do this, for example, is by mixing in instrumental music full blast on one channel while recording yourself singing along (you’ll need headphones).
Delete any bands below 80Hz or above 15kHz that are not found within the instrumental song’s range.

There are a few methods for thickening vocal tracks with inverse equalization.

First, highlight all the bands and invert the gain of each band to achieve an amplified low-frequency effect but be sure you do this subtly because too much can leave your vocals sounding muddy or cause distortion over time.

You will also want to use linear phase mode so that there is no excessive phasing from multiple frequencies needed for thicken up effects.

Dynamic equalization is a great way at adding some natural-sounding dynamics into your vocal – if used for lower frequencies, it’s very effective at thickening the sound of either a sung or spoken vocal.

I like to amplify and expand 200Hz on my vocals if they need that extra power.
If you do choose to use this method, I recommend trying it with Pro-Q 3 because not only does this plugin offer low latency linear phase mode but also offers up so many other options which are perfect for boosting any frequency without changing its signal’s phase in ways that might cause feedback issues when recording live instruments.”

Dynamic EQ is a great tool for thickening vocals, but you don’t have to stop there.
You can also take the Tokyo Dawn Labs NOVA out of your producer’s kit bag and see if it fits!

This powerful equalizer provides an easy way to adjust specific frequencies in order to change how they sound.
It has presets that are designed specifically for vocal tracks which will make them stand out more or add some thickness without being too heavy-handed with effects processing.
Give the free plugin a try next time you’re stuck on dynamic eq alone!

Optical compression is a really interesting and unique form of compression – in the hardware, it utilizes a light sensor that determines when it begins to compress your vocals.
This results in an effect which behaves very differently than most FET or digital compressor effects would on them.

Because of this behavior, optical compression can be used for thickening vocal tracks – something you might have heard before with bass guitars but has similar softening properties to make instrumentals sound fuller too!

As a singer, have you ever wondered how to make your vocals sound thicker with an optical compressor?

Optocompression may not work out for every vocalist but it provides the perfect classic warm tone and can give great versatility.

Saturation is a combination of soft-knee compression and harmonic distortion – it gradually compresses the signal which controls its dynamics while simultaneously adding in harmonics that raise the overall amplitude.
Because of this combo, saturation is a perfect form for thickening your vocal performance because it creates strong second order harmonic that doubles up on fundamental frequency.

Just about any saturator will work well for this but tube based sound processing may be one to consider as they are more likely than most other types to add an extra layer or two worth of sonic depth by reinforcing higher frequencies through mid/high gain ranges.

If you want to thicken your vocals, saturation is a good option.

It gradually compresses the signal for control of dynamics while simultaneously adding in harmonics that rise overall amplitude- perfect combo!

To get tube-based results, try saturating with any type of pedal or plugin and see what sounds best for you.

How to thicken vocals with short delay? Similar to short reverbs, it can be a great idea for thickening your sound.
This technique was first used in the 50s by using multiple tape heads and creating what’s called slapback delays which is still effective today if you want an older sound.

The same concept carries over today but instead of tapes or analog equipment, digital processors will do the job just fine so long as they are below 130ms – that creates 3-5 voices we perceive coming from 1 source (so please don’t make them too high)!

There are many ways to thicken vocals, but one of the most effective ones is with short delay.

For whatever reason, if the delay is greater than 130 milliseconds we perceive it as coming from two or more sources and this can create a thin sounding effect that isn’t cohesive enough for our ears.
So keep your delays below 130ms in order to have them sound thick and coherent like they’re coming out of just one source!

Thickening vocals with short high-density reverb has been a strategy of music production and performance for literally thousands of years.

It’s the reason opera houses were designed to be a particular size, and why we sound better when singing in the shower than in large rooms.
When vocals are either recorded or processed using this technique they will have quick reflections that blend into it making them thicker sounding.

The simplest way of adding a thicker sound to vocals is with short, high-density reverb.

This can be achieved by choosing an ambient or room setting on the reverb plugin and adjusting the RT60 accordingly:
Short for bright sounds and tight vocal enunciation; moderate for more realistic sounding effects.
For even better results you could combine multiple reverbs together!

The Dyna-Mu compressor from IK Multimedia is one of the most popular and versatile compressors in music production, but it can be a little intimidating at first.

Top use this stereo amplifier on your master track, you’ll need to turn down both channels so that they’re equally loud (you may have trouble doing this by ear!).
Up top are controls for left channel compression:
You can adjust input level as well as threshold reduction with attack time and release times next to them below.
The right side will control the same settings for right channel volume levels – just remember that each setting only affects its respective button!

The Dyna-mu plugin is a highly versatile compressor and limiter that can be used on individual channels or groups of channels.
It’s got many useful features, like the ability to link controls across multiple compressors, as well as make your processing collective with gang compression technology which enables you to turn all four dyna-mus into one for maximum power!

You can also create mid/side stereo imaging by selecting M/S mode; this will introduce high pass side chain filter in order reduce low frequencies from being compressed while still maintaining control over other delicate frequency ranges.

For those who want more intensity but less pumping effect when limiting their track volume levels then activate hard ratio limiters which are perfect for aggressive mastering workflows.

The L1 was the first commercially available digital limiter, and it no doubt changed music production.

For this reason, it truly is a classic-one of the most straightforward limiters on offer.
Lowering its threshold introduces automatic make up gain while reducing peaks in signal output.

To get a more controlled and professional sound, you may want to use the L1 Limiter from Waves Audio.
The output ceiling changes how much signal can be sent out of your system so this is important for preventing distortion after using other effects such as reverb or delay.

You have two options: reducing both functions simultaneously by linking them on the right side, or just lowering one function at a time while monitoring what’s going on with the attenuation level (which shows in green) – make sure it stays between 50ms-250ms otherwise there will be too much noise!

To use the low-level compressor MV2 from Waves Audio on your master, you first need to set up a track.

If it’s an instrument with long release times for example, or any sound that isn’t transient heavy (like vocals), this is essential in order to get proper results when applying the effect.

Once done setting up everything and doing minor adjustments like EQing as needed – which will depend largely on what’s being compressed – switch over to “MV 2 Low Level Compressor” plugin settings by clicking its icon within your DAW software package of choice.

The input stages are already setup so all you have left is adjusting threshold level until finding suitable volume levels for compression; turning down dB amounts if desired.

If you want to introduce low-level compression, just increase the ‘low-level’ slider.
You’ll notice that this plugin shows an increase in gain as a result of your action.

However, if high levels are too much for your soundscape and need some space added back into it there’s also a way to decrease peaks with the help from the make up level options shown at every threshold setting available on Waves Audio MV2 compressor.

The Oxford Inflator plugin is a powerful tool for making your master sound fuller, upfront and impressive.

There are 4 main controls on the interface: input volume, output volume which control how much signal enters or exits respectively from the effect; effect percentage that changes what part of frequencies in between 20 Hz to 1000Hz will be affected by this compressor with some overlap at around 500Hz where it’s most effective; and finally curve that sets different frequency bands based on their gain change before as well as after compression – adjusting these can have drastic effects!

Oxford Inflator is a plugin from Sonnox that will help you make your music sound thicker.

It can be used on the whole mix or just for specific parts of it, and there are many different curves to choose from depending on what kind of distortion effect you want.

For instance if I wanted more high-frequency distortion in my song then lowering the value would do this well, but if I am aiming for something with less harsh treble frequencies than increasing could work better as higher values give off an overall warmer tone due to their lower frequency range (which has been shown in numerous studies).

The Maag EQ from Plugin Alliance is both professional sounding and easy to understand.

We only have 6 bands, but each can be altered with 5 different settings depending on the desired result.
The fixed frequencies all allow for a 10dB change in either direction, which makes this an excellent mastering equalizer that should serve you well.

For those who want even more precision though, there’s also the Airband- it could go up to 40kHz if needed (although I doubt most people will need such high frequency levels), and allows users a boost of 10dB when activated too!

A powerful mastering EQ plugin, Maag and Plugin Alliance’s Maag EQ offers a lot of potential for sonic shaping.

The interface is clean and intuitive with easy to read icons that represent the four main bands: Low Shelf, High Pass Filter (HPF), Bandpass Envelope Generator/Actualizer (BEQ) & Parametric Equalizer.

It also features an adjustable input gain knob in order to attenuate or amplify the signal before it enters each band’s processing stage – which comes in handy if you need more punch from your audio tracks while keeping them sounding natural at lower levels without clipping any frequencies up top due to high output volume!

Hard-knee compression is most often used for mastering, as it gives a punchier sound.

Soft-knee will give you smoother tones with less transient sounds that make the track more dynamic and professional sounding.

In general, hard knee tends to be optimal when compressing drums or bass instruments where the uncompressed level can vary at different points in time; this way any change of volume is immediately compensated by high ratio values making sure your listeners don’t have trouble hearing these quieter parts compare to louder ones.

The difference between hard and soft-knee compression is a point of contention among audio engineers.
Hard knee compressing happens when the signal gets loud enough, while soft-knees will compress at any volume as long as you have set it to do so with the threshold knob.

One other important distinction is that hard knees are more accurate in what they’re doing because there’s less variation depending on how high or low your input level was before hitting the compressor.

Soft feet can be better for controlling peaks though if you want something smoother sounding than an extreme attack time which would sound like “puh!”

Side-chain compression is a technique that you can use to avoid having certain frequencies trigger the compressor.
To do this, when mastering your tracks, set up an internal side chain of the master compressor and then adjust it so that only some elements are triggering its effect on other frequencies.

For example if there’s too much loud bass in one section or another part of your mix needs more dynamics without compromising quality, try using side-chain compression with frequency ranges based around what needed adjusting initially – remember not to overdo it!

Side-chain compression is a great way to make your mastered track sound tight and well balanced.

One of the best ways to use it is with mastering kick loops, which can trigger quick heavy peaks in volumes that will cause normal compressor settings to apply too much pressure on highs; side-chaining these frequencies out avoids this problem by allowing them only compress when they are triggered externally from an instrument or other signal.

This technique also has various applications for vocals—you could have bass tones cut off before any distortion occurs while retaining warmth, for example using low end EQ’s below 200 Hz as opposed to cutting at 80Hz where human vocal ranges starts.

The first stage of any compressor is the attack time.
This dictates how quickly it reacts to an incoming signal, which in turn determines what kind of sound you’ll get out on the other end with output volume and timbre also being affected by this setting.
Generally speaking, a longer attack will cause less compression but result in more over-signal; while shorter times can often be used for heavier amounts of compression without sacrificing clarity or quality too much (depending on specific settings).

If that sounds like something worth trying for yourself though, remember: just because there are no hard rules doesn’t mean experimenting isn’t fun!

The best way to master your sound is by using a slower attack.
Avoid fast attacks when mastering as they can be too harsh and bass heavy on the track, which will make it difficult for other elements of the song like vocals or higher frequency sounds to cut through in order to stand out.

Furthermore, slow attacks might also help you find spikes easier- so if any peaks are highlighted during an analysis with Pro Tools then reducing their volume level would bring them down into line with everything else more easily without having such high levels that they clip off at either side and cause distortion.

Also something worth bearing in mind is what tempo should I use?
Some people say that setting your release time close to match the BPM of your music could result in a more balanced compression.

The release time is one of the most important and influential aspects of compression, especially during mastering.
It has the power to completely change how your track sounds by either attenuating transients or letting a portion of them pass through.

The timbre changes depending on whether you use shorter or longer release times- with anything below 50ms being too short for lower frequencies that can’t be compressed as much before distorting because it releases quicker than they play out in real life; while any length over 100ms will create an unnatural sound where long periods linger after each note ends, sounding sluggish rather than energetic like other instruments might at their chosen amplitude levels.

A release time is a duration of silence that occurs before the sound from an audio track starts to decay.
For example, if you are mastering and want your output to have a transparent or clean sound you will set it for 50 milliseconds in order to make sure that the amplitude of the tracks return back quickly after compression has occurred.

If you would like your sounds more glued together such as electronic music then setting this parameter between 200-500ms should be enough for what you need depending on how much louder than everything else around them they may become with longer settings.

Mastering has a lot of components, but one that not everyone may know about is optical compression.
Optical compressions have been around for decades and are known to add an interesting tone to the sound coming through it.

How do you use this type of compressor? Well first off, make sure your signal isn’t in danger by trying splitting parts up where there’s no risk or damage (for example: vocals).
The other thing that needs to be done before compressing anything with this technique is setting attack time as well as release times appropriately depending on what kind of music track we’re working with; those values will vary from song-to-song.

If they don’t fit right away then experiment! It might take some trial and error.

Optical compression is a great way to glue your tracks together.
It can also be used as an effect for drum-to-bass transitions, or on its own with slower material like vocals and acoustics – but we’ll get into that later!
Optical setting creates a naturally slow release time in conjunction with soft knee settings which results in smooth transition of the signal.

Trying out optical compression if you want to create some smoother sounding drums without relying too much on other effects such as reverb and delay.

Additive EQ is a great way to make small changes quickly.
I like using it at the end of my mastering chain for this reason because if someone wants me to change something after that, all they have to do is ask and not worry about how other settings are impacted by adding new elements.

For example, say you wanted your vocal cut through more in the master; boosting 2kHz would only affect what’s happening with those frequencies when everything else was set up accordingly—it wouldn’t impact any compression or saturation levels which could be problematic given their purpose on the track.

So, if you want to use additive equalization before limiting on your master track – where it’s going to be the last thing that happens in this chain of processing – then make sure not to change how other forms of processing will sound.

Combining Maximization and Limiting can be a difficult process, but it’s important to understand the difference between these two processes in order to make sure you’re getting the best possible combination.

Essentially there’s always going to be an upper limit – this ceiling is what we refer as limiting of your master volume.
But if you find that some parts of your track are quieter than other tracks – then upward maximization may suit better for those specific areas or sounds within your mix.

This way only by pushing up on those quietest parts without affecting any levels will allow us maximize our audio quality while still having limits so no one gets hurt from dangerously loud sound waves!

There are a few different options for you when it comes to combining upward maximization with limiting.
One option is the Waves MV2 plugin, which starts by pushing lower-level details forward using its “upward” function; this effect can be compounded even more if you use low-level compression simultaneously such as Sonnox Inflator on top of that.

Another choice might be boosting your track’s overall volume like Ursa DSPs Boost does and then following up with any favorite limiter afterwards – but whichever approach ends up working best for your needs will depend on what other tools or effects have been applied previously in particular songs/tracks so starting off experimentation at home before deciding whether or not these techniques would work well within specific projects.

First, set your limiter to 50ms so that you can create a loud master without distortion.
This will retain transient detail and allow the signal to return back up quickly after attenuation when using shorter release times as well but introduces more potential for distortion.

The reason being is because each waveform has its own wavelength with lower frequencies having longer wavelengths while higher frequencies have shorter waves lengths which means they decay faster than lower frequency signals making them less resistant against clipping before their time limit expires on the other hand low-frequency sounds are better suited towards creating bass drums or kick samples in music production since they produce richer sound qualitys due to there slower attack rates.

Now, I know there are a few things going through your head right now. “How do you set the release time?” and “What is this about 50ms?”.

Well let me tell you exactly how to get started with recording music in Garageband if that’s what we’re talking about today.

First of all- don’t worry! Setting up for mastering should be pretty simple when starting out as long as master quality isn’t something too complicated or foreign to you just yet– it might seem like an overwhelming task but once it becomes more familiar then everything starts making sense.

So first off: setting release times on our master track so they suit whatever song needs mastered best without any distortion happening from having those low frequency wavelengths cut into them.

In mastering, you can combine multiple forms of saturation to create a fuller and more impressive-sounding master.

By combining these types, including tube and tape saturations for example, there are many harmonic formations which add together to amplify the hidden parts of an audio signal – resulting in an impressively detailed sound that is also nuanced.

For instance when combining tube with tape saturation some harmonics may be identical meaning they will simply just increase each other’s volume without adding any new content or nuances while others form different orders like second order from the tubes but third order from the tapes as well as other smaller additions.

The most important thing to know about combining saturation types on a master is that they employ different, nonlinear, compression curves.

By combining these curves together you can get an even more unique nonlinear form of compression depending upon the curve used for your final tone or image when it comes out!

We’ve all most likely used a stereo imaging plugin at one point or another, but one of the first stereos to exist was crosstalk.
Crosstalk occurs when the left and right channels overlap each other too significantly on an analog tape recorder from back in ye olden days.

By having some bits of information coming through both sides, you cause mild phase cancellation which often expands your sound field by widening out what we hear as our speakers pan around us voraciously scanning for lifeforms with their searchlights before suddenly stopping like they always do just outside that corner where I knew it!

To get analog-sounding stereo widening, you’ll want to emulate crosstalk.
To do this without phase cancellation from a delay plugin, try finding an effect that will give the appearance of tape machine and utilizing its “crosstalk” function.

If you want your chorus, bridge, breakdown, or other section of the song to stick out during a live performance then all that is needed is some automation.

Just like any machine with different settings it can be difficult distinguishing one from another but there are few ways which will allow for an impressive result!

One way would be to automate certain sections and have each sound slightly louder than others – this allows listeners to hear them more distinctly in contrast with the rest of the song.

To do so simply find what goes through your limiters (i.e., gain) function within automation and increase its intensity just on those specific parts where necessary by using time-based control such as “Attack” tempo detecting functions when setting up these parameters yourself manually;

You see, I’m always looking to make my tracks sound as impressive and loud as possible.
Well that’s where automation comes in handy! One of the best tools for this is saturation; it will add warmth to your track with a few tweaks here or there.

But don’t stop at just one method–try increasing high-frequency amplitude using an automated shelf (perhaps from -6dB up +3dB), which may give you more control over how much high end frequencies are desired on different parts of your mixes throughout changes during mastering stages, without having to have separate settings for each instrument group within the song.

Sometimes, it can be hard to create a stereo image that is program-dependent. For example, if you have static or malleable stereo expansion then your width will either not vary with the incoming signal and often sound predictable.

There are ways around this though!

One way would be through dynamic equalization which also supports mid-side processing of audio signals so that they become more interesting in terms of their sonic properties like how wide they should sound given what’s happening on screen but don’t forget about those other aspects such as dynamics and frequency content when considering an appropriate setting for your soundtrack too because all these elements come together to make up one cohesive mix even down to something simple sounding like reverb effects used sparingly throughout playback for.

I’ll create a band then assign it to the side image.
As you can see, we have two images on each side of this composition and I want them both in stereo sound so they complement one another when played back.

This is where my dynamic bands come into play: anytime that specific section gets triggered for any reasons- say as part of an event or just because someone walked by -then its volume will change accordingly which would make everything more interesting sounding!

The TRackS Opto Compressor is a simple, inexpensive and great-sounding mix bus compressor by IK Multimedia.
With it you can control your input, output, attack rate (how fast the compression kicks in), release time (the speed at which it releases) as well as ratio between compressing and not compressing for some really cool sounds from sidechaining to more subtle effects like smoothing out volume changes across phrases or instruments.

The left panel offers detection options of Left & Right channels only; just the left channel; Mid Channel with Sidechain on either right or both sides plus Highpass/Lowpass filters that cut frequencies below 100Hz respectively over 400 Hz – all these features mean there’s never been an easier.

When you’re mastering a mix, it can be hard to find the right balance.
Luckily though, IK Multimedia has an excellent solution in their TRackS Opto Compressor plugin for this!

One of my favorite features is mid-side mode which widens your soundscape without introducing any phase issues like traditional stereo widening does because you are only expanding one side on each channel (instead of both channels at once).
It’s also great if other plugins have introduced phasing problems and after fixing them with EQ or Reverb plug ins they reintroduce those same issues again when going back into compression mode.
Just turn that up until what was problematic before becomes exactly how you want it now – completely transparently even across multiple songs where there

The Pro-C 2 is an effective and easy to use plugin for mastering.
It offers a number of different settings that range from the automatic release time, which allows you to set how long it takes before compression kicks in (slow or fast), or even opto mode, where the compressor only compresses when peaks hit 0dBFS.

The output can either be bused out at a desired level with make up gain available – perfect if your mix has been mastered by another engineer who may have clipped some frequencies while doing so!

Mastering can be a tough process, but the Pro-C 2 from FabFilter has some great features to help you get started!

The first step is oversampling and lookahead.
These will allow for better noise reduction in your final product and should reduce unwanted distortion that may occur with audio compression.
Next up are side chain controls which give you an easy way to trigger compression when it’s needed most so as not too overwhelm the song or distract listeners respectively.

And finally, there are presets available right out of the gate to save time on tweaking settings yourself – just select one of these based on your desired outcome (elevated bass response? Mellow vocals?)

The idea with a Presswork compressor is that it takes care of all your needs in one.
Its versatility means you can tailor each section to what you need, be it compression or limiting for example.

It may take some time getting used to the interface, but don’t worry – even if you think there are too many options at first glance, they will quickly become second nature and easily accessible once accustomed!

And remember: try starting with just one plugin before mixing them together – this way everything becomes easier as well as familiarizing yourself quicker than tackling multiple plugins right away.

The dial on the left is not your regular slider that increases or decreases the volume of a sound.
It’s actually called “Presswork” and it changes how much compression you want applied to an audio signal, which ultimately affects both its timbre (tone) and loudness.

This nonlinear control allows for some really versatile processing options: from subtle dynamic adjustments to extreme squashing with soft-knee functions in between!

In order to get the most out of your Comp Tube STA from Arturia, you need to be careful with how often it’s used.
It is great for adding a certain tone and personality onto individual instruments or instrument busses; but if overused, can sound too heavy handed on an entire mix.

When using this compressor make sure that the gain reduction meter in the middle shows just enough processing so as not to overpower everything else going into it at any given time.

So, how do you use the Comp Tube STA from Arturia for mastering? Well, there’s plenty of options to choose from.

For instance, in Advanced Mode under “EQ” and then “Compressor” tab – if your goal is a more aggressive sound with rhythmical punch (e.g., drums), then try selecting Side Chain mode on the right side-chain input at 100% instead of using Auto Threshold detection; this will help keep that big drum bass or kick drum prominent without swallowing up other instruments like vocals or guitars as well!

If you’re looking for a very easy to use, but still professional-sounding mix bus compressor, try the Drawmer S73.
The S73 is a lot like the Drawmer 1973, but with algorithms that make using it more straightforward and intuitive than earlier iterations of this legendary processor line.

Each one of those four new algorithm performs its title or augments your instrument’s range in some way:

– Plus EQ boosts frequencies across three ranges
– Vintage buss compression gives an old school flavor
– Matrix 4×4 provides smooth stereo imaging by splitting input signals over 16 channels while also adding saturation effects from vintage tube amps
– Tape Modeling recreates analog tape behaviors such as wow & flutter along with other noise artifacts like static electricity during playback

It is important to use the Drawmer S73 Softube for mastering sparingly.
This processor will drive your mixes too hard if you are not careful, so be sure that it does not make them over-compressed or under-attenuated.
The Air Shelf setting introduces a high shelf before compression and can help in situations where more volume has been lost than desired; however, this effect should always remain subtle as an increase in amplitude may sound distorted otherwise.

The DS1 MK3 from Weiss offers a wide range of effects to present in your mastering.
If you’re going for de-essing, limiting or more complex needs such as foldback compression on vocals and basses, it’s got the chops to do all that with ease!
But there are other options too – like using this machine as an excellent mix bus compressor.

When using this plugin at its fullest potential try mid/side stereo option for natural widening of your soundscape while controlling what gets compressed through bandwidth function

The Weiss DS1 MK3 Softube is a powerful master module that can be used in many ways.
The automatic make-up gain function is really impressive, and the soft-knee option combined with its ratio versatility makes it perfect for dialing in just the right amount of compression!

Analog Obsession is a great independent developer of plugins and their Britpressor plugin has two useful functions.
It can be used as an excellent parallel compressor, but it also works well for mix bus compression with the right settings too.

The limiter in this plugin includes both program-dependent or automatic release times so you should find one that suits your needs best depending on what kind of music you are mastering.
This compressor features 1:5:1 ratio which means its subtle enough for some light mixing work when mastered correctly;
if not adjusted properly, however, it may overwhelm mixes due to heavy reduction during loud passages and mangling quieter ones by overcompensating at other moments because there’s no manual speed control available like most compressors.

Using the Britpressor Analog Obsession for mastering can be a little tricky.

On the right side, you have a wet/dry blend which is great for subtle effects as well as an internal or external side chain EQ so you can control what frequencies trigger your compressor and how much compression they will undergo.

Over-processing may seem like Over a- legitimateprocessing concern is, a common but it problem can with be many master helpful forings achieving, commercial but competitiveness this. fear  can If lead you to an’re working uncommercial on rap sound or. pop For commercial music, sounding rap fear of or pop over- music,process you will hinder may the need production to. overprocess your mix.

If you’re mastering a song, and you know it needs to be louder than average, be sure to use both upward maximization and limiting.

One processor which is great for this task is One by IK Multimedia.  If you include it in your signal chain prior to limiting, it provides just enough processing to get you into the commercially loud and punchy area.

Some limiters are better suited for specific forms of mastering, which may vary depending on the desired sound.  A Dynamic Limiter typically expands the transients before limiting, meaning you can push the signal while retaining dynamics.

A good example of this is the FabFilter L2s dynamic option, which expands the signal’s dynamics right before a limiter kicks in.

For this reason, you might want to use the loud algorithm which is designed to generate louder sounds without causing distortion.

Where the lows of a master track holds most of the dynamics, mids are where most instrumentation and detail is. You can’t count on dynamic range to give you these essential elements so use a traditional stereo compression with an internal side chain targeting the higher frequency to control your highs.

Keep your mids at a similar level by using an automatic makeup gain to get a more balanced sound.

Internal side-chaining ensures that the compressor only gets triggered when the mids are loud enough to do so.

Upward maximization or low-level compression push quieter details in a mix upward, making them easier to perceive and reducing the effect of masking. One way this is helpful for mastering is when you want your master louder and more upfront.

Whereas conventional compressors and limiters attenuate the loudest parts of signal, upward maximizers and lower-level compressors are both detecting aspects of quiet signals, capturing them, and amplifying them while keeping peaks at the same level.

To make your mastering more “complicated” without having to push the limit too hard, try combining this effect with your usual compression.

You can make your signal louder without putting too much strain on a single form of processing, so long as you sandwich an expander between two limiters.  That way, not only do you get a squashed chain, but also some dynamics that you lost from the first limiter.

The first limiter reduces most of the track’s dynamics and, by the time it hits the second limiter, only a few of its transients make it through.By putting an expander after this first limiter, you build back your dynamics.

I like to use a FabFilter Multi-band Expander and vary the release time, expanding some lows, mids and highs.

The shorter the release time for compression, the louder a signal will be. The reason is that it takes less time for amplitude to return to normal after being compressed. Short release times cause distortion but the effect can have a beneficial result.

The distortion will amplify the signal, causing it to sound even louder, but this may not be ideal. A good mid-ground for your release time is 50ms if you do not want any distortion.

The general consensus is to use a short release time for all compression, but each compressor has its own quirks and you should experiment with the right settings.

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  • Using 2 limiters, you split the processing between the two in order to reduce distortion while achieving a higher overall level. Furthermore, if the 2 limiters you use have a unique or complex timbre, combining these can yield an even more beneficial result.

    2 limiters gives you more freedom to manipulate the sound. One limiter may set the first compressor so that it’s applied on an individual channel, and then use a second limiter with a different method to process all of them together.

    This would reduce the sound of each channel by a certain level with one limiter, and then increase overall volume with another which retains the detail of each channel.

    The best way to make a loud master is to use a combination of techniques. The first technique is to always compress the mids, or midrange frequencies. This will make the mix more impactful and audible for your listeners. The second trick is to set an upward maximizer on your master bus compressor which should be inserted before any other compression you are using so that it limits peaks in the program material being pumped through it and brings up some quieter parts along with louder ones creating a greater sense of balance within the track as well as overall volume. A third thing you can do as part of this process is to use low-level compression on those same tracks or channels if they sound too loud when soloed out by themselves, but still have enough room left in them for mastering without sounding harsh when listening

    Why You Should Use 2 Limiters on your master?

    using 2 limiters, you split the processing between the two in order to reduce distortion while achieving a higher overall level. Furthermore, if the 2 limiters you use have a unique or complex timbre, combining these can yield an even more beneficial result.

    2 limiters gives you more freedom to manipulate the sound. One limiter may set the first compressor so that it’s applied on an individual channel, and then use a second limiter with a different method to process all of them together.

    This would reduce the sound of each channel by a certain level with one limiter, and then increase overall volume with another which retains the detail of each channel.

     

    Why use a shorter release time for all compression on your master?

    The shorter the release time for compression, the louder a signal will be. The reason is that it takes less time for amplitude to return to normal after being compressed. Short release times cause distortion but the effect can have a beneficial result.

    The distortion will amplify the signal, causing it to sound even louder, but this may not be ideal. A good mid-ground for your release time is 50ms if you do not want any distortion.

    The general consensus is to use a short release time for all compression, but each compressor has its own quirks and you should experiment with the right settings.

     

    How to sandwich an expander between 2 limiters on your master?

    You can make your signal louder without putting too much strain on a single form of processing, so long as you sandwich an expander between two limiters.  That way, not only do you get a squashed chain, but also some dynamics that you lost from the first limiter.

    The first limiter reduces most of the track’s dynamics and, by the time it hits the second limiter, only a few of its transients make it through.By putting an expander after this first limiter, you build back your dynamics.

    I like to use a FabFilter Multi-band Expander and vary the release time, expanding some lows, mids and highs.

     

    Why always use upward maximization or low-level compression on your master?

    Upward maximization or low-level compression push quieter details in a mix upward, making them easier to perceive and reducing the effect of masking. One way this is helpful for mastering is when you want your master louder and more upfront.

    Whereas conventional compressors and limiters attenuate the loudest parts of signal, upward maximizers and lower-level compressors are both detecting aspects of quiet signals, capturing them, and amplifying them while keeping peaks at the same level.

    To make your mastering more “complicated” without having to push the limit too hard, try combining this effect with your usual compression.

    Why compress your mids and use automatic make-up gain on your master?

    Where the lows of a master track holds most of the dynamics, mids are where most instrumentation and detail is. You can’t count on dynamic range to give you these essential elements so use a traditional stereo compression with an internal side chain targeting the higher frequency to control your highs.

    Keep your mids at a similar level by using an automatic makeup gain to get a more balanced sound.

    Internal side-chaining ensures that the compressor only gets triggered when the mids are loud enough to do so.

     

    Why use a dynamic limiter on your master?

    Some limiters are better suited for specific forms of mastering, which may vary depending on the desired sound.  A Dynamic Limiter typically expands the transients before limiting, meaning you can push the signal while retaining dynamics.

    A good example of this is the FabFilter L2s dynamic option, which expands the signal’s dynamics right before a limiter kicks in.

    For this reason, you might want to use the loud algorithm which is designed to generate louder sounds without causing distortion.

     

    Why don’t be afraid to over-process your master?

    Over-processing may seem like Over a- legitimateprocessing concern is, a common but it problem can with be many master helpful forings achieving, commercial but competitiveness this. fear  can If lead you to an’re working uncommercial on rap sound or. pop For commercial music, sounding rap fear of or pop over- music,process you will hinder may the need production to. overprocess your mix.

    If you’re mastering a song, and you know it needs to be louder than average, be sure to use both upward maximization and limiting.

    One processor which is great for this task is One by IK Multimedia.  If you include it in your signal chain prior to limiting, it provides just enough processing to get you into the commercially loud and punchy area.

    Phase cancellation, or the lack of clarity in a master mix due to frequency overlap from two sources.

    It’s often associated with muddiness and is caused by too much bass content on one track that masks highs like cymbals or vocals.
    The most common fix for this issue is amplification which can work well if your high frequencies are natural enough not to sound too sharp when amplified; however attenuation could also be an option depending on what you’re going after – typically 200-500Hz will help bring out low end instruments while these same frequencies may get cut back slightly so they do not cover up other sounds such as drums and lead guitar solos.

    Transient shaping is a lot like expansion, but with an emphasis on capturing and amplifying the transients to create greater detail.

    Because most transient that exist in a mix are higher in frequency, this technique adds clarity to your mix by allowing you access different frequencies of these peaks for extra attention or attenuation based on what best suits the sound’s sonic profile.

    For example I might want more punchy bass guitar – so I would look at expanding those bands specifically as opposed to other parts of my signal chain which may be creating too much mud (or not enough).

    To do this traditionally will require 3-4 plugins dedicated solely towards modifying one aspect while still trying maintain some semblance of dynamics through out the rest; however Newfangled Audio.

    When mastering, you’ll want to keep the amount at 10% or less. Otherwise, your track will most likely end up with clipping distortion after adding transient shaping.

    Additionally, it is best to shorten the transients length a little bit- this way there are more audible changes in volume for listeners when they experience these sound waves!

    Here’s a cool way to expand the high frequencies in your master: with a multi-band expander.

    With it, you can increase the amplitude of high frequencies dynamically and only when they’re loud enough for this expansion to occur – which makes them dynamic relationships between clarity and amplitudes across all frequency ranges!

    This is great if you have instruments that are louder up top like drums or cymbals because it’ll really let those sound through without pushing other sounds out of their range as much.

    The high frequencies are captured and amplified to give your master a higher quality.

    One of the best things about plugins is that they can combine different effects to create one perfect effect for a given problem.

    This has been true with Slate Digital’s new free plugin Fresh Air, which combines 2 high-frequency shelves and 2 frequency specific exciters to add clarity in highs or loudness in low frequencies where it may be needed most.

    It works really well on individual instruments but at lower levels when used as part of mastering chain you’ll find that both higher ranges become more pronounced while simultaneously adding warmth from 16k down making your master much fuller sounding.

    What is high order harmonic distortion? All forms of distortion are in one way or another, some form of a harmonic.

    But by controlling these harmonics we can greatly impact the timbre and tone that our masters have.

    Tube distortions create lower-order harmonics which will make your master sound full – but if you’re looking for clarity, emulating tape saturation to produce higher orders could be what you need!

    How do I use High Order Harmonic Distortion?

    If you’re new to mastering, try Softube’s Saturation Knob and select the Keep High option.

    This will create more high-order harmonics than low, in turn creating an impressive and present high frequency range.

    Also it’s a free plugin so its good one to try out but be careful with this effect though or it will become too aggressive

    The Aural Exciter is a processor that came about in the mid-1970s and it really makes your instrument or mix sound much clearer than before.

    It was developed because musicians started to notice how distortion could make their instruments fuller sounding, but they wanted clarity as well.

    The exciters work by finding the harmonics of an input signal and amplifying them; whereas distortion creates new types of harmonic frequencies for you.

    Low frequency orders will give your mix more fullness while high order ones can add lots of clarity without adding too many other type sounds at once giving off a nice tone!

    The processor in this machine is more geared for mixing, so you have to be careful with the way it’s used. Otherwise your music will sound too harsh and unpleasant.

     

    The easiest way to add clarity during a mastering session is by amplifying the frequencies most often associated with it – 4kHz-20 kHz.

    You can gradually and subtly amplify these frequencies by using either a shelf filter or change slope values accordingly in order for this amplification sound natural or more aggressive, depending on your needs.

    Additionally, if you use mid-side equalizers then changing any high frequency side image will both give some added clarity as well as expand stereo images; which are usually good qualities when adding clearness after an already mastered track has been recorded!

    In order to amplify specific frequencies, combine this shelf with a bell filter and boost the signal by up to 2dB.

    Always start with a subtractive Eq to clean up the track. If you need to attenuate low frequencies, use a linear phase mode for better sound quality during playback and mixing (or mastering).

    Next, saturate it just enough so that your bass sounds full while maintaining dynamics in other parts of the frequency spectrum by generating harmonics.

    Finally, add some compression or limiting on top as needed because we want our music played through speakers loud without distortion at all times!

    The last thing is using an EQ and ampifying details that stand out such as mid-side processing if applied correctly can make your composition even more engaging than before – which will be great especially when recording quieter genres like rock ballads!
    Ending the mastering chain with a limitere and LUFS meter.

    Have you ever wondered what happens to the WAV file from your recording before it gets streamed?

    Before streaming, a track needs to be converted into an MP3 or AAC. This process converts audio files without preserving its original digital data in entirety because of how much easier this makes for storage purposes and increased loading speeds on devices.

    The downside is that when the conversion takes place, there’s typically clipping due if one has created a loud master (0dB).

    To prevent this distortion, try reducing levels by up 2 dBTP so as not t have any peaks at 0DB which may cause major upsets with listeners who are listening carefully!

    When creating a master, it’s important to consider how dynamic your music should be.

    Streaming services normalize audio by turning up the volume during playback and one of risks is that peaks can clip when the level is increased past 0dB if you have quieter recordings with large spikes in intensity.

    For example, imagine you’re making an album that has been normalized at -18 LUFS but there are points where it gets as loud as -2 dB before leveling off again; this means any peak over 2 dB will cause serious clipping issues when streaming service users turn their sound levels all the way up- or even just halfway for headphones!

    Granted these problems can sometimes be fixed through use of limiters on streaming services account–but why take chances?

    Mastering music is a process that ensures the final audio file sounds balanced, clear and loud. The LUFS meter at the end of your signal chain can help monitor this by measuring how “loud” or “quiet” you want it to be.
    If you are mastering more dynamic genres like folk, classical or jazz then -14LUFS will be sufficient but if rap pop rock etc., something closer to 8 LUFs should work well with most DAW plugins adjusting automatically according for an average level of volume.

    When you’re mastering music, it’s important to understand how the loudness normalization process works. Services like Spotify take your audio and make sure that all of their songs are normalized so they can be listened at a uniform volume level.

    Loudness normalization is achieved by adjusting for differences in dynamics within an audio track or across different tracks on the service which might sound too quiet relative to others after gain adjustments have been made during playback– this means if one song has louder passages than another then those quieter sections will get boosted up until each passage matches with other parts of the same track; when done correctly listeners won’t notice any difference between these two or more songs because they’ll be able to hear them equally despite fluctuations in overall amplitude (volume).

    So, if you’ve been mastering your tracks super loud and sacrificing dynamics to do this, it helps to know that the sound engineer is going to turn down the volume regardless. If your track is lower than -14LUFS like -18LUFS? It will be turned up by roughly 4dB on average!

    Mastering for streaming is best when it’s between -14 LUFS and -8LUFS, as well as leaving 2dBTP of headroom in case you need to make any gain adjustments during encoding. Additionally, don’t try to master a track that has both dynamic peaks and quiet passages because the normalization process will distort anything quieter than 0 dBTP after making these changes.

    What frequency is a vocal?

    The fundamental frequencies of male vocals are usually between 100–300 Hz, while the fundamentals for female voices fall more around 200-400Hz. The human voice has been said to have an emotional range that can be up from 9 octaves and down from 1/2 step depending on how much breath support you use with your harmonics.

    Equalizing vocals is time-consuming. You’ll need to consider the background vocals, and effects as well in order to get a nice balance of frequencies for all 4 channels on your vocal bus. This will be different from equalizing an individual voice since there are more elements that you’ll have to take into account such as stereo imaging which can sometimes make it difficult depending on what type of plugin or processing gear you use.

    A lot of engineers want to have small control over the tone and balance of their vocals. For this, it is recommended that they use an equalizer with both sides being mid-side EQs. This way you can make adjustments on either side without affecting other frequencies in your song as much due to phase cancellation from mixing stereo signals together too close.

    I recommend using one low pass filter for every piece or group, so there are no overlapping frequencies happening between similar tracks such as guitars and basses when recording multiple instruments simultaneously.

    In order to achieve a professional voice, it’s important that you get air in your vocal. All you need is an EQ shelf filter at 12kHz and up with subtle amplification of this range until you’re happy. You’ll find some EQs go as high as 40 kHz but don’t worry about going too high because we can’t hear anything past 20 or 25 kHz anyway, so these will work well for us!

    You’ll want to make sure you’re using a higher sampling rate for your session if you plan on amplifying frequencies above 25kHz. If, for example, the max frequency supported by your audio device is 44.1 kHz, and it’s trying to amplify an input of 25 KHz (which would be amplified as 22050 Hz), then any sounds that are created will have aliasing distortion because they’ve been sampled at too low of a rate – resulting in “buzzing” or other unwanted noise being heard instead.

    De-essing is an often overlooked, but incredibly important aspect of the mixing process. Our ears are sensitive to 5kHz and above, where sibilance lies. Furthermore, in English at least -sibilant sounds- which include “S” or “Z” – especially when singing –are common and aggressive.

    We could use a de-esser plugin that works by compressing a narrowband of sibilance-based frequencies, or we can make quick work in the EQ. If you have access to an EQ with dynamic mode – and noticed some harshness around vowel sounds like ‘s’, oi,’f’-‘v’- create your own dynamics range for those particular vowels. Narrowing down the bandwidth will give us more accurate results when it comes time to reduce hisses on consonants as well!

    In the world of sound, vocal clarity is often found in very high frequencies. In this range (2kHz and above), a lot of what makes up your voice’s character can be heard clearly. So if you find that when singing over instrumentation it’s hard to balance out both sounds, try boosting 2khz using a bell filter with medium-to-relaxed Q value for better results!

    The sound of an instrument can drastically change depending on the quality setting, so it’s important to experiment with different settings. A sharper Q will provide a more precise sound while using 1.414 is better for natural sounds since that creates about one octave of bandwidth for frequencies between 200Hz and 5000 Hz (pitches). Listen intently as you move the bell filter up and down the spectrum until you find just the right spot for your vocalist in a particular mix! Amplifying by 2dB should be enough but avoid any amplification over 4dB because that causes distortion which might not have been there before due to how compressed things are – we want clean mixes without unwanted artifacts ruining our music!

     

    It’s often the low-mids of a vocal that make your vocals sound unintelligible. These frequencies have loud amplitudes, so they easily mask quieter higher frequency sounds right above them!In order to tailor a vocal mix, it is best practice to attenuate any frequencies that may be obscuring the vocals. To do this effectively, find out what frequency range you want to be filtered and use an EQ with bell filter settings in 500Hz increments around those areas until you’ve found one suitable for your needs. For example, 700hz will help clear nasal singing while 300 Hz can maintain power without being overpowering if someone sings lower than average tones

    Here’s a quick and easy way you can clean up your vocal production: the low-end. The frequency range between 100Hz and 300Hz is crucial in shaping the tone of your vocals, as frequencies below that will most likely be plosives (those “pop” sounds) or microphone rumble from bumps on stage.
    By balancing out those lower-end tones with some high-mids around 800 to 1k Hz, we’ll create an even more powerful sound without any unwanted artifacts!
    So get ready to take control over those pesky lows by adding just one EQ band at 250 Hz–you won’t regret it!

    There are two ways to activate WIGGLE: Online or Offline, we highly recommend the online way.

    Online (recommended):

    • Enter your serial number then click activate, and you good are to go instantly.
    • If you got the fail warning, please check your internet connection.

    Offline:

    • Click the Copy Challenge Code button, the Challenge Code will copy to your clipboard automatically.
    • Send the Challenge Code by email to info@2ndsenseaudio.com. We will reply you with the Response Code within 24 hours.
    • Paste your serial number, registered email address and the response code, then click Activate button, you are good to go instantly.
    • We don’t support Windows XP, Windows 2000 & Windows Vista.
    • If you are using Windows 8.1 and Windows Server 2012 R2, please make sure you’ve installed the April 2014 Update (see KB 2919355) and Servicing Stack Update (see KB 2919442 or later) .

    You can use Wiggle as a stand alone app or plugin.

    System requires:

    • Windows 7+ (Including Windows 7, 8, & 10)
    • Mac OS X 10.6+ (Including Mac OS X 10.6, 10.7, 10.8, 10.9, 10.10 & 10.11)

    Plugin requires:

    • Any VST 2.4 (32/64 bit) compatible DAW
    • Any AU (32/64 bit) compatible DAW
    • Any AAX (32/64 bit) compatible Pro Tools (Including Pro Tools 10, 11 & 12)

    Yes, 2nd Sense Audio does offer an educational discount. If you want to know more about these special prices, please contact 2nd Sense Audio. That way you can get a hold of the 20% educational discount coupon.

    The functionalities between the DEMO version and the regular version are totally the same. So there’s no random noise or a popup window that force you to buy. On top of that, you can even save and read patches presets in the trial version. The only difference is that you can use the trial version for 20 days, After that the plugin doesn’t work anyone. If you were happy with the results during the trial period, you can buy the regular version by clicking the BUY button. After the purchase, you can continue using it without reinstall.

    iZotope Neutron is essentially the spiritual successor to Alloy 2. Neutron 3 brings your mixes into the 21st century with new assistive audio technology, new interactive visuals, and faster performance. For you available are an EQ, two multiband compressors, a multiband Exciter, an improved Transient Shaper module, and finally, a limiter. iZotope Neutron is the modern way to mix.

    iZotope, Inc. is an audio technology company based in Cambridge, Massachusetts, United States. In their own words iZotope is “obsessed with great sound”.  iZotope develops professional audio software for audio recording, mixing, broadcast, sound design, and mastering which can be used in wide range of Digital Audio Workstation (DAW) programs. The intelligent audio technology helps musicians, producers, and audio engineers focus on their craft rather than the tech behind it. 

    iZotope RX is designed to be the go-to audio repair and polishing suite essential toolbox for for film, television, music, podcasts, video games, sample libraries, and more. Using powerful new technology, RX removes hiss and buzz, eliminates clicks and crackles, and repairs distortion and even gaps in audio. RX is a budget-friendly audio repair tool powered by technology used in studios all over the world.

    What does iZotope ozone do?iZotope Ozone 9 Advanced Features:Master Rebalance corrects the levels of individual instruments in a stereo file. Low End Focus adjusts the contrast and definition of low frequencies. Tonal Balance Control analyzes and optimizes your master. Seamless integration with other iZotope plug-ins via Relay

    Eelko van Kooten

    Roger de Graaf

    The Talent Pool is a platform invented by Spinnin‘ Records to solve the classic problem of sending your demo to a record label and ending in the huge pile of demos without any feedback.
    1. Demonstrate your best. …
    2. Do Your Research; Submit To The Right Labels. …
    3. Use Official Contacts, Not Facebook Messages. …
    4. Personalize Your Submission. …
    5. Send a Brief-but-Specific Message. …
    6. Send Links, Not Files. …
    7. Be Patient + Learn to Accept ‘No’
    In the documentary What We Started, Garrix describes how he was discovered by the Dutch record label Spinnin‘ Records following the release of his remix for the Enrique Iglesias single “Tonight (I’m Loving You).” He signed with Spinnin‘ Records in 2012, releasing “Error 404,” a collaboration with Dutch DJ Jay Hardway.
    1. Step 1: Upload your Song To Soundcloud. The first step in this journey is going to be to upload your song to Soundcloud as it’s gonna allow you to do a couple of things LIKE. …
    2. Step 2 Submit your song to Spinning Records VIA Talent Pool. …
    3. Step 3 Make It Into The Top 50. …
    4. STEP 4 Keep Trying.

    R&S Records is an independent record label founded in 1984 in Ghent, Belgium. R&S represents the initials of Renaat Vandepapeliere and Sabine Maes, the couple that created the label. The label was first named as Milos Music Belgium but just one record was released on the label.

    Somatic Records is an up and coming London Label that has mastered the art of fusing Progressive & Melodic feelings together with subtle Techno elements’ – Change Underground Magazine. A label birthed little over a year ago our sound & vision has grown exponentially.

    Is it a good idea to mix and master your own music? When musicians mix their own records, it’s often all done within the same DAW session. Therefore it might be a good idea to wonder if you should do something that someone else can do better. A better recording makes a better rough mix, which makes a better final mix, which makes a better master. The perfect mastering is something Audiobyray Mastering can help you with.
    Mastering is the term most commonly used to refer to the process of taking an audio mix and preparing it for distribution. One goal of mastering is balancing and optimizing playback for all systems. Another thing mastering does for a mix, is to enhance specific characteristics. There are several considerations in this process: unifying the sound of a record, maintaining consistency across an album, and preparing for distribution. Mastering puts the final touches on a mix.

    Mastering can do a lot for your song but it really can’t fix it. This has to do with several factors. For starters, a mastering engineer deals with a track on macro levels. It can not effectively fix issues on a micro level. As you can probably imagine, mastering can’t add delays to just your vocal track. Despite the skills and experience of a mastering engineer, getting a good result naturally also depends on the material they have to work with.

    Why is mastering important?
    Audio mastering is the final step in a music production process. The mastering involves several audio processes. For example: with mastering you can emphasize or reduce frequencies to improve the overall mix. Also, with mastering you can fix problematic frequencies and improve imbalances missed in the mixing process. Aside from this, you can create tonal balance, so there is an even distribution of frequencies. Last but not least, you can manage dynamics with mastering, control transient spikes, and glue tracks. Audiobyray.com can be of help with all of the above.
    To get great mastering results, it’s important to correctly set your mixing levels. As long as your mixes give the mastering engineer room to work and cover your noise floor, then you’re in a good range. I recommend mixing at -23 dB LUFS, or having your peaks be between -18dB and -3dB. These are however general guidelines. In the end, all mastering engineers adapt the level to their chain anyway.
    Providing a mix that is ideal for mastering takes in the amount of headroom in consideration. The general idea is: allow 6dB of headroom. Audiobyray Mastering recommends that the loudest part of the mix should be around -3db tot -5 db (below 0level). This encourages generally sane levels throughout the mix, it prevents any risk of inter-sample clipping and you still have masses of signal-to-noise ratio at 24-bit – and, plenty at 16 bits too, assuming you dither correctly. 
    Mastering most definitely makes a difference! A good mastering engineer will enhance your music. A mastering engineer like audiobyray.com understands the sound you’re going for will help get you there. Professional mastering is an art by itself.
    In fact, both eMastered and Landr operate in a similar way. In terms of speed, eMastered is faster with songs processed and available for download in under a minute. It takes about two minutes at Landr’s for a download to be sent by email. Currently eMastered is free to use, unlike Landr which can go up to $25 per month depending on how you want to use it. To get your track mastered, your can also choose for audiobyray.com.

    For those who have never heard of LANDR before, we’ll explain. It’s basically an online, automated mastering service. So, it doesn’t use human beings on the back end and it’s driven by an algorithm. You simply upload your tracks to this service and it automatically masters them. Then it allows you to download them instantly. Although it works okay, the system can never replace a real professional mastering engineer like audiobyray.com.

    In 2020 the Best Online Mastering Services were reviewed.

    The first spot is taken bij Abbey Road Studios, which is of course one of the world’s most iconic (mastering) studios. Runner-up is BandLab, which has become popular among indie musicians and artist. The third place goes out to Landr, a completely online and on algorithm based mastering platform. Fourth is Cloudbound, a mastering tool that is available 24/7. On the fifth spot we find Metropolis Studios and last but not least is eMastered. But of course, you can always choose for personal contact with a professional mastering engineer like audiobyray.com.

     

     

    Not everyone thinks the same on the matter of whether or not sending music into a professional mastering studio is a necessity. If the mix doesn’t need any modifying, this means that it is at a perfect volume level, the fades are well done, the EQ is consistent throughout, the compression is right on, and so on. In that case there’s no need for mastering. If these basics are not covered, audiobyray mastering can help you out.

    Mastering is the final step of audio post-production. The purpose of audio mastering is to balance sonic elements of a stereo mix. Mastering helps to optimize playback across all systems and media formats. Traditionally, mastering uses several tools like equalization, limiting, compression and stereo enhancement. Audiobyray.com is a specialist in all of the above.

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  • XL Recording is a London based record label established in 1989

    XL Recordings is a British independent record label founded in 1989 by Tim Palmer and Nick Halkes. It is run and co-owned by Richard Russell since 1996.

    Richard Russell (born March 18, 1971) is an English record producer and the owner of British record label XL Recordings.

    XL Recordings is a British independent record label founded in 1989 by Tim Palmer and Nick Halkes. It is run and co-owned by Richard Russell since 1996. It forms part of the Beggars Group. … The label releases albums worldwide and operates across a range of genres.

    This is royalty free music, mostly from Trap Nation, which can be used as background music on your stream on Twitch, videos on Youtube and so on.
    It is able to get an average of 5 million views per day from different sources.
    This should generate an estimated revenue of around $20,000 a day ($7.3 million a year) from the ads that run on the videos.
    Trap Nation makes extra income through other platforms such as Spotify.
    Andre Benz is the founder of Trap Nation, a YouTube music channel that launched in 2012, and has since grown to 18.8 million subscribers, notching up 6.65bn views in the process.
    Trap Nation is an American record label that is primarily known for releasing its music on its YouTube channel.

    Richard Branson
    Nik Powell
    Simon Draper
    Tom Newman

    In 1992, Branson reluctantly sold Virgin Records for $1 billion in order to keep Virgin Atlantic afloat.
    Today, the operations of Virgin Records America, Inc., the company’s North American operations founded in 1986, are still active and headquartered in Hollywood, California, and have operated exclusively under the Capitol Music Group imprint, also owned by UMG, since 2007.
    Virgin EMI’s artists include Carrie Underwood, Taylor Swift, Florence and the Machine, Lewis Capaldi, Katy Perry, Emeli Sande, The Chemical Brothers, Jamiroquai, The Libertines, Fall Out Boy, Lorde, Chase & Status, Metallica, Avicii, Elton John, Chvrches, Paul McCartney, Blossoms, Loyle Carner, Martin Solveig, Bon Jovi …
    7 Universal Music Group Intern Salaries
    The highest paid Interns work for Integrated Informatics at $91,000 annually
    and the lowest paid Interns work for WakeMed Health & Hospitals at $14,000 annually.
    Universal Music Group was founden in September 1934
    Universal Music Group (also known in the United States as UMG Recordings, Inc. and abbreviated as UMG) is an American global music corporation that is a subsidiary of the French media conglomerate Vivendi. … Since 2004, the corporation is no longer related to the film studio Universal Studios.
    Universal Music Group, Inc. provides recorded musicmusic publishing, and merchandising services. The Company develops, manufactures, markets, sells, and distributes recorded music through a network of subsidiaries, joint ventures, and licensees. Universal Music Group serves customers worldwide.

    Sony is one of the most iconic brands in music history. It has been a leader in the industry for over 100 years, and it continues to grow each year. In this blog post, we’ll take a look at some of Sony’s many different record labels and what they are known for: Columbia Records, Epic Records, RCA Victor Records, Arista Records and more!

    1 – Columbia Records

    Columbia Records is one of the most iconic labels in music history. It was founded by Emile Berliner and Thomas Edison, two pioneers in sound technology for recording companies. The label can be recognized with their trademark “His Master’s Voice” dog logo seen on all releases from 1927 to 1935 (replaced thereafter with a drawing of a lion). They are one of Sony Music Entertainment’s three flagship record labels alongside RCA Victor and Epic Records. When it comes to genres, Columbia has some pretty diverse artists including Adele, Beyoncé, Bob Dylan, Guns N’ Roses or Bruce Springsteen.

    Their headquarters have been located around the world since 1913: New York City (1913-1964), Hollywood/Los Angeles

    Columbia Records is an American record label owned by Sony Music Entertainment, a subsidiary of Japanese conglomerate

    new-wave and punk rock band the Ramones. The division is also one of the oldest in all recorded music history being founded as Columbia Phonograph Company (distributing records without its own recording studio) on 1887, predating both RCA Victor and EMI Records. In 1991 it was purchased from CBS by Sony Corporation of America, which then merged with co-owned UMG to form Sony Music Entertainment in 1987. Today it’s been led by Chairman Rob Stringer since 2015 who has headed the company for over 25 years now – making him one of the longest serving executive heads at any major label worldwide today.”

     

    2 – Epic Records

    Epic Records is an American record label owned by Sony Music Entertainment. The company was originally founded in 1953 as the subsidiary of co-owned Record Corporation of America (RCA) and served as a sister label to Columbia Pictures’ film company, which later became part of its parent company since 1961 when it acquired both RCA Victor and Parlophone from EMI. Epic’s best selling artists include Beyoncé, Taylor Swift, Lady Gaga among others.

    The name “Epic” refers to something that has grandeur or scale; usually incredible beauty with heroic deeds being done. It also means immense magnitude: gigantic size or scope: vastness – typically used about things such as space or time.”

     

    3 – RCA Victor Records

    RCA Victor Records, founded in 1929, is an American record label owned by Sony Music Entertainment.

    Columbia Records, founded as CBS Records in 1906 and renamed to Columbia Recording Corporation (COL) in 1938, was the first company established on what would become known as the “major” United States record labels. It originated from CBS’s earlier establishment of its radio station WEAF which later became WCBS-AM a year before.

     

    4 – Parlophone Records Ltd

    Parlophone Records Ltd., commonly known as Parlophone (/ˈpærləfoʊm/), is a British record label that operates under Warner Music Group internationally. The name derives from the fact that originally all RCA Victor recordings were sold through this English subsidiary for distribution outside North America

    5 – Arista Records

    Arista Records was bought by Sony Music Entertainment in 1989. Columbia Records was purchased for $750 million from EMI Group on July 18, 1987. Epic Records became a part of Sony BMG in 1955 when company merged with CBS Recording Company and it still is today. In 1979, RCA’s music division was acquired by the Japanese electronics giant to form one of the largest entertainment companies in the world.

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  • Internships run during the fall, spring and summer semesters. … Internships are unpaid and for college-credit only. Sony looks for interns across all departments, including A&R administration, music licensing, promotion and publicity.
    Contact
    1. Press & Media. press.me@sonymusic.com.
    2. Brand & Licensing. brands.me@sonymusic.com.
    3. Bookings. booking.me@sonymusic.com.
    Sony Music Entertainment is a global recorded music company with a current roster that includes a broad array of both local artists and international superstars. The company boasts a vast catalog that comprises some of the most important recordings in history.
    According to Concise Oxford English Dictionary, one says “never say die … to encourage someone not to give up hope”. It functions literally as a reply to a statement such as “we are all going to die”, expressing hopelessness in the face of a deadly situation.
    If you have a neversaydie attitude, you don’t give up or get discouraged, no matter what. People love a neversaydie spirit because it describes people or teams that just don’t quit. Unless they die, then they can’t say it anymore.
    • Adrian Beateq.
    • Bone N Skin.
    • DC Breaks.
    • Dodge & Fuski.
    • Eptic.
    • Freestylers.
    • Matta.
    • Skism.

    Worldwide, most label contracts include a specific rule. They don’t actually allow their artists to be signed to multiple labels at once. However, there are ways to circumvent this. Through either loopholes in those contracts or by gaining permission from the labels, on rare occasions artists may be able to release certain records (sometimes limited to “non-albums”, ie. EPs, singles, mixtapes, etc.) on other record labels. Always keep this in mind when you sign a contract with a record label.

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  • In the music industry, a 360 deal (from 360° deal) is a business relationship between an artist and a music industry company. The music industry company will actively try to develop new opportunities for the artist. They will function as a pseudo-manager. In return, according to the 360 deal, the artist agrees to give the company a percentage of an increased number of their revenue streams. In a 360 deal this often includes a percentage of sales of recorded music worldwide, live performances, royalties, publishing and more. Costs for packaging, budget records and other costs might be deducted from the artist’s royalties as well.

    When an artist signs a deal with a label, they should see themselves as an investment of the record label. Artists don’t get paid if they are with a record label. The record label lends them money that is to be paid back if/when the artist makes it. Suppose that a music label gives a band a $250,000 advance to record an album. The label agrees to do so in return for 90% of the sales. This percentage can vary from label to label and from artist to artist.

     

    In most cases, when signing with a “major” record label, the label will offer the artist a large cash advance. This can be used for anything and everything in the artist’s music career. Keep in mind though, that every dime the record label invests in the artist, they expect to get back. If the music label never recoups what they’ve invested in the artist, the artist will never see any of the royalties that their music generated. All of that advanced money must first be paid back to the record label.

    The music industry is a highly competitive and constantly evolving field, with a wide variety of record labels vying for the attention of audiences and artists alike. Among the most well-known and influential of these labels are the “big four”: Universal Music Group, Sony Music Entertainment, Warner Music Group, and EMI.

    Universal Music Group

    Universal Music Group (UMG) is the largest record label in the world, with a diverse roster of artists spanning multiple genres. Founded in 1934, UMG has a rich history of discovering and promoting some of the biggest names in music, including Lady Gaga, Kendrick Lamar, and Taylor Swift. In addition to its impressive artist roster, UMG also owns a number of influential music publishing companies, such as Polygram and the Rondor Music Group.

    Sony Music Entertainment

    Sony Music Entertainment (SME) is another major player in the music industry, with a strong focus on pop and electronic music. Founded in 1929, SME has a long history of fostering the careers of some of the biggest names in the business, such as Michael Jackson, Beyoncé, and Calvin Harris. The company also owns a number of record labels, including Columbia, RCA, and Epic.

    Warner Music Group

    Warner Music Group (WMG) is known for its diverse roster of artists, spanning multiple genres including rock, pop, and hip-hop. Founded in 1958, WMG has a rich history of discovering and promoting some of the biggest names in music, including Led Zeppelin, Madonna, and Ed Sheeran. The company also owns a number of influential record labels, such as Atlantic, Warner Bros., and Reprise.

    EMI

    EMI is one of the oldest record labels in the world, having been founded in 1931. Throughout its history, EMI has been at the forefront of the music industry, discovering and promoting some of the biggest names in the business, including The Beatles, Coldplay, and Pink Floyd. EMI was acquired by Universal Music Group in 2012.

    The days, record labels can have an elaborate list of duties. The details my vary per music label. In most cases, record labels work directly with artists and producers to coordinate the writing and production of the recordings. After this, the coordination of the manufacturing follows and subsequently the distribution, marketing, promotion of the recording. All this is done to ensure the recording sells well around the world.

    DistroKid makes it possible add collaborators to any track. When someone buys the entire album (as opposed to buying or streaming an individual track), we’ll automatically calculate pro-rata revenue split. Example: if an album has 2 tracks, and you’re owed 50% of one track, then you’ll receive 25% of a full album sale. The Team manager can see this by clicking “Edit Team” > “Review Changes”, and scrolling to the bottom.

    Yes! It’s easy with DistroKid “Teams”! Automatically route any percentage of earnings from any track to anyone. Add your collaborators, producers, bandmates, managers and more. We’ll pay them directly, so you don’t have to think about it. Free for all DistroKid members! Zero commission! AND, you can edit teams and percentages any time. Easy setup – so you can focus on making music – and leave the accounting to us. To get started, sign into DistroKid and click “Teams”. Note: Each collaborators will need to have a DistroKid account to collect their earnings. Until they accept your invitation, their assigned split of the earnings will be held in DistroKid’s bank. Once they accept and create an account, the held earnings will be available in their own Bank within 24 hours. If they never accept, you can claim their funds and/or reallocate them to another team member. Sounds complicated but it’s super easy 🙂

    If DistroKid is telling you that your PayPal payment was sent–but the money isn’t showing up in your PayPal account–then there is likely something wrong with your PayPal account. Please reach out to PayPal directly and ask them why your account isn’t able to receive money. After your PayPal account is fixed (or you open a new PayPal account), contact us and let us know, so we can resend your payment.

    Yes. PayPal, as well as our payment provider (Tipalti) charge DistroKid a small fee for sending money, which is automatically subtracted from your earnings when you withdraw. Paypal The PayPal fee comes out to 2% of the transaction, with a maximum ceiling of $1 in the United States, or $20 USD if you’re outside the U.S. Withdrawals over $10,000 (PayPal’s maximum per transaction) may be split into multiple transactions. In the U.S., each individual payment can be no more than $10,000.00 USD. For accounts in other countries, the maximum individual payment varies according to the payments standard sending limit. TipaltiACH (U.S. only) – $1 per paymenteCheck (U.S.) – $1.50 per paymenteCheck (non-U.S.) – $5.00 per paymentPaper Check – $3 per checkWire Transfer (U.S.) – $15 per paymentWire Transfer (International in local currency) – $20 per paymentWire Transfer (International in USD) – $26 per paymentPayPal (Non-US resident): USD 1.00 +%2 Up to USD 21.00PayPal (US resident): USD 1.00 + 2% Up to USD 2.00 Note: FX fee of up to 3% may apply if payment currency is different than the country you select. Visit DistroKid.com/payouts > Step 2 for details.

    When you’re owed money, DistroKid will ask you for you payout preferences in the “bank” tab. Until you’re owed money, you won’t be asked for your payout preferences. If you don’t have a PayPal account, we can send you a ACH, wire transfer, eCheck, or even a paper check! Please visit https://distrokid.com/payoutmethod/ to select your preferred payout method. 1. Fill out all required contact information. 2. Choose your payout method: Direct Deposit/ACH, Wire Transfer, Check or PayPal. 3. Select and complete the required Tax Forms. If you have questions, click “Need Help? Start the tax form questionnaire” Note: We’re unable to help with any tax questions/issues. Please consult a tax professional.

    DistroKid cannot give tax advice, so we must state that this is not tax advice. Please consult a tax professional if you have any questions about the information here. If your country of tax residency is not in the United States, up to 30% of your earnings may be subject to tax withholding. If there is a tax treaty between your country and the United States, and if you qualify for the benefits of that treaty, withholding may be reduced or eliminated. Depending on the rules and regulations in your country of tax residence, you may be able to credit some or all of the United States tax withheld (if any) against your taxes. A detailed list of applicable withholding rates per country can be found in the column labeled “Copyrights” here:https://support.tipalti.com/Content/Topics/UserGuide/TaxInformation/WithholdingRates.htm If there is a tax treaty between your country and the United States, and you wish to claim the treaty benefit of a reduced withholding rate, instructions for doing so are outlined here for your convenience:https://distrokid.zendesk.com/hc/en-us/articles/360044282254These instructions don’t constitute tax advice. Please consult with your tax advisor before completing a tax form.

    DistroKid cannot give tax advice, so we must state that this is not tax advice. Please consult a tax professional if you have any questions about the information here. If your country of tax residency is not in the United States, up to 30% of your earnings may be subject to tax withholding. If there is a tax treaty between your country and the United States, and if you qualify for the benefits of that treaty, withholding may be reduced or eliminated. Depending on the rules and regulations in your country of tax residence, you may be able to credit some or all of the United States tax withheld (if any) against your taxes. A detailed list of applicable withholding rates per country can be found in the column labeled “Copyrights” here:https://support.tipalti.com/Content/Topics/UserGuide/TaxInformation/WithholdingRates.htm If there is a tax treaty between your country and the United States, and you wish to claim the treaty benefit of a reduced withholding rate, instructions for doing so are outlined below for your convenience. These instructions don’t constitute tax advice. Please consult with your tax advisor before completing a tax form. How to make a treaty claim on DistroKid’s W8-BEN tax formVisit https://distrokid.com/tax, select your Country of Tax Residence from the dropdown menu, and click NEXTProvide your tax identifying number (this can be a US or Foreign tax identifying number or both) If your country of tax residency has a treaty with the United States, you are presented the option to claim treaty benefits in the “Claim of Treaty Benefits (Part II)” section After selecting your country of tax residency, you are able to complete the request to claim treaty benefits if you wish to do so How to make a treaty claim on Tipalti’s W8-BEN tax formVisit https://distrokid.com/payouts/ and confirm your DistroKid passwordEnter/confirm your contact information as they appear on your bank records, and click NextOn Step 2, select your payment method (Direct Deposit/ACH, Wire Transfer, Check or PayPal. Note: Some payout methods may not be available to you based on your payment country). Click NextOn Step 3, Select and complete the required Tax Forms. If you have questions, click “Need Help? Start the tax form questionnaire”Note: If you have previously completed the tax form, you’ll see when that was submitted. To submit a new tax form, follow the link on the Tax Form Review page.Select Your Tax Form (W-8BEN/W-8BEN-E) and click Complete FormComplete the required fields, and provide your tax identifying number If your country of tax residency has a treaty with the United States, you are presented the option to claim treaty benefits in the “Claim of Treaty Benefits (Part II)” section, if you wish to do so

    There are no minimum payout thresholds for PayPal withdrawals. If you’ve enabled other payout options, you’ll have the following minimum thresholds:ACH (U.S. only) – $1 minimum.eCheck (U.S.) – $1.50 minimum.eCheck (non-U.S.) – $5.00 minimum.Paper Check – $3 minimum.Wire Transfer (U.S.) – $15 minimum.Wire Transfer $20 minimum.Wire Transfer $26 minimum. Note: you’ll keep more of your earnings if you withdraw larger amounts, since you’ll save money on fees.

    A PayPal account is not required. DistroKid supports a large number of payout options. If you don’t have a PayPal account, we can send you a ACH, wire transfer, eCheck, or even a paper check! Please contact us to have additional payment options enabled on your account.

    One thing to keep in mind is that engagement is more important that vanity metrics such as how many streams your song/album has. Some artists use services that offer hundreds or thousands of additional streams for a cost. This leads to a massive spike of streams, but from a relatively small number of accounts/users. Stores frown upon this, and refer to using these types of stream-farming services as “streaming fraud”. This can lead to stores removing your release(s) altogether, and potentially withholding any earnings the stores deem fraudulently acquired. It’s much better to promote your releases in other ways for organic engagement, increasing a base of actual fans, rather than inorganic streaming counts. tl;dr – Use of any service offering to get you “guaranteed” streams might actually result in getting your music removed.

    If you think your single or album has sold more than 500,000 copies (gold) or 1,000,000 copies (platinum) in the US, or streamed the equivalent*, please let us know. We’ll verify your numbers & work with the RIAA to get you certified. From there, you can authorize who gets a plaque. It’s typical to award a plaque to anyone who had a hand along the way–lawyer, manager, distributor, label, recording studio, and of course the artist(s) and anyone involved in the creative process. It’s up to you! There’s a fee associated with each plaque. You can pay it, or let each recipient pay for their own, or mix & match. Want to see what a gold plaque looks like? Check out this unboxing video we did. * For purposes of calculating sales with regard to streaming equivalents, here are the certification criteria published by the RIAA.

    If it looks like we skipped a month, have no fear! We didn’t skip it. Apple just jumped forward a month, that month. So streams that happened in Jan–which used to be reported as Jan–were reported as Feb. Something similar happened in April, where April streams were reported as March 31. March streams were reported as March 3. And July 2017 streams were reported by Apple Music as “Aug 4”, so they show up as August in DistroKid. Which makes it appear as if July was skipped, even though it wasn’t. The same thing occurred for January 2018 and April 2019 earnings. We know this is confusing. And apologize. Hope this helps clarify!

    DistroKid’s “Musician Plus” and “Label” accounts give you access Daily Stats. Sometimes (often, usually), the sales numbers in Daily Stats differ somewhat from the figures shown in your monthly earnings statements. That’s normal, usual, and nothing to be concerned about. Behind-the-scenes, those two data sources (stats & earnings reports) come from 2 different feeds that the stores make available to labels and distributors like DistroKid. The Daily Stats that we show you, come from reports referred to by many stores as “trend reports.” As the name implies, thesetrend reports are designed to give you a general idea of how you’re doing–but are almost guaranteed to vary from your actual sales numbers. There are several reasons for the variation between trend reports & earnings reports. Some of the reasons may include returns, free trials, promotions, and other mysteries. Earnings Reports (in DistroKid’s “bank” tab), on the other hand, are accurate to the cent (actually to 20 decimal places in DistroKid’s database…). Earnings reports take about 2-3 months for stores to prepare & make available to us. TL;DR – Don’t be concerned if your “daily stats” numbers are different from your earnings numbers in the “bank” tab. They almost certainly will be different.

    There are several factors that streaming services use to calculate earnings. Some streaming companies might not pay earnings for listeners who are on a free trial or other promotion. Other services (like Spotify) say that they split the revenue pie on a country-by-country basis. So if the stream happens in a smaller country where there are few Spotify subscribers or ads, it seems the payments may be smaller or nonexistent. Note that we can’t speak for Spotify or other streaming services–this is just speculation. DistroKid passes on 100% of whatever earnings the stores send us for your sales/streams, minus banking fees/applicable taxes. You may need to Google around and/or check their FAQs for current rates.

    Sometimes we get email from well-meaning artists along the lines of, “5 of my friends said they bought my album! But you’re only reporting 2 sales!” There are two possible causes of this: Maybe the albums were bought later than the last earnings reports we have. Stores are usually 2-months behind on reporting (an album bought today won’t show up for about 2-months).We hate to be the bearer of bad news, but… maybe the people who said they bought your album… didn’t. Most people don’t realize the granularity in which artists can see sales data using services like DistroKid. So your friends thought they’d get away with it. if the problem is #1, just wait a bit and they’ll show up eventually. If you think the problem is #2, call your friends out for being cheap and not supporting your art! 🙂

    Click “Bank” to see your earnings reports for sales and streams. First, you’ll see the summary report. It shows how much you’ve earned from each store & streaming service. You can break that down by month. Click “See Excruciating Detail” to see individual line-items that contain the following information:Reporting MonthSale MonthStoreArtistTitleQuantitySong/AlbumCustomer priceCountry of saleYour earnings Example: If your song “Feel The Beat” was streamed 500 times on Spotify in July by people in Japan, that would show up as a single line-item.

    None! When you use DistroKid, you keep 100% of your earnings, minus banking fees/applicable taxes. We feel strongly that you shouldn’t give a percentage of your sales & streaming revenue to your distributor. You earned the money, not them. The only time we take a percentage, is if you opt into our optional “YouTube Money” service. That’s the service where we find videos on YouTube that use your music– and tell YouTube to monetize them (more info here). We keep 20% of the revenue from YouTube videos that we find, and send you the rest (80%). But you still keep the money you earn from sales & streaming sites like iTunes, Spotify etc. You always keep 100% of that, minus banking fees/applicable taxes. Enjoy!

    If you’re not seeing the latest reports yet, don’t worry! Rest assured that we’re working to get them to you ASAP. To see detailed information about the latest streams & sales, visit “Bank”, then click “See Breakdown By Store,” then “See Excruciating Detail.” Stores usually deliver these reports monthly — but please note that each store & streaming service delivers reports & payments on their own schedule. So, for example, you likely won’t receive updated iTunes & Spotify numbers on the same day each month. Same thing goes for different distributors–if you have other music online via a distributor other than DistroKid, that distributor may reflect your Spotify (and so on) numbers before or after DistroKid does. We’re usually first! But not always. For more information about how and when you get paid, please check out this article.

    Sales reports and payments are available to you based on when DistroKid receives sales numbers and earnings from stores. Stores usually deliver these reports monthly, andthey reflect sales from about 3 months ago. So a song you sold yesterday won’t be reflected for about 3 months. That’s how long it takes before stores send us (or any distributor) the information. It’s also important to note that not all stores report at the same time, or at the same frequency. Each store & streaming service delivers reports & payments on their own schedule. So, for example, you likely won’t receive updated iTunes & Spotify numbers on the same day. The same thing goes for different distributors–if you have other music online via a distributor other than DistroKid, that distributor may reflect your Spotify (and so on) numbers before or after DistroKid does. We’re usually first! But not always. To see detailed information about your streams & sales – such as country and currency – visit “Bank”, then click “See Excruciating Detail.” Your money will be sent within 1-14 days of a withdrawal request from https://distrokid.com/bank.

    Yes. Let’s say you decide to delete a release from availability for whatever reason. You will still get any earnings you may have earned while your music was live on stores, up until the point it disappears. The earnings will flow through to your account, as per the following reporting schedule. Expect to wait up to 1-2 weeks for your deleted music to disappear from all stores, sometimes sooner.

    Yes! To see detailed information about your streams and sales once stores have reported your earnings:1. Visit “BANK”2. Click “> SEE BREAKDOWN BY STORE…” to expand3. Scroll down and click “SEE EXCRUCIATING DETAIL”4. Click the Download button next to DISPLAY in the upper-right. Here’s what the download icon looks like: The file will save with the extension .tsv (tab-separated value), which you can open in the spreadsheet software of your choosing (Excel, Google Docs, etc.) and sort as you please to sum up earnings per artist/release/etc. If you have a lot of sales, it could take a minute or so for the file to be generated. Files can get large. A 150,000 row spreadsheet file is about 14mb.

    To see the tracks you’ve sold (and how many), sign into DistroKid and click “bank”. Sales reports are available monthly-ish, as soon as we get them from stores. A song sold in July might not show up until the September reports.

    If you stop paying the annual fee (and haven’t opted into “Leave a Legacy,” more info on that in bold below), we may remove your DistroKid songs & albums from stores. You will continue to have access to DistroKid.com and (of course) will receive any earnings owed to you. Assuming that you didn’t opt into Leave a Legacy… the reason why we remove former-customers’ music from stores is because it’s a lot of work for us to gather revenue reports from stores, pay out earnings, do customer service, and so on. Your membership fee covers all that. We’ll automatically re-bill you every year so you don’t have to think about it. If the charge fails, we’ll give you ample notice before removing any of your music from stores. We know you don’t want any surprises when it comes to your music. Also, in the rare case that we remove your music from stores after your yearly subscription ends, you can of course re-join DistroKid any time and upload it again. If you want your music to stay in stores forever in the event of a lapsed credit card payment, check out our “Leave a Legacy” option. Read about it in our FAQ here.

    At this time, the only way to downgrade is to delete your albums, cancel your account, and create a new account with a lower plan with a new email address. For more information about how to do this, please check out this FAQ article. Please note that if you choose to do this, and sign up for the Musician plan instead of Musician Plus or a Label plan, you will lose the ability to choose a label name, specify release dates, and other great features.

    Unfortunately, no. Currently DistroKid requires payment using Visa, Mastercard, or American Express cards.

    Your account will automatically renew every year on the date that you signed up and paid for your current subscription. We do not send an email prior to charging the renewal fee, so you may just want to make sure your credit card information is up to date. To view the date that you signed up, simply click on “More” in the upper right > Account Settings > Tap Receipts. The first date/charge listed will be the date you signed up. Note: You may see an occasional $1 charge, followed immediately by a $1 refund. That is a test hold that our credit card processing system administers use to verify that cards are still active.

    Generally, we reply to all emails within 1-2 days. If you’re not receiving a response from DistroKid support, or not receiving the 2-step authentication emails, it’s likely that they’re either going to spam, or being bounced entirely by your email provider. More info here! Check in with your email provider to ensure that all emails from distrokid.com are allowed. If you’re using an older email, such as a school email, etc., considering using something more permanent, like Gmail. If you’re still not able to get through, send a DM or Reply via Twitter, and we’ll get back to you ASAP!

    Let’s say you need a refund, but you no longer use the card that DistroKid originally charged. Where does the refund go? Great question! It varies by bank. If the you have another credit card account with the same bank, sometimes the bank will apply the refund to the your other card. Sometimes, they’ll send the funds to your bank account, or apply the refund to any outstanding balance on the card (it should still appear on a statement, however, if this occurs.) Other times, your bank may send a paper check. And sometimes, the funds sit there for a long time until you contact your bank to request the funds manually. What doesn’t happen is the refund automatically going to whatever other card you have on file with DistroKid (unless it falls into one of the categories above). TL;DR: Ask your bank.

    Need a receipt for your bookkeeping? No problem! You can find detailed information about all charges by going to Settings (Gear in Upper Right) > Receipts. That should have you covered. We’re not able to add additional info (like invoice numbers, tax info, etc.) to receipts.

    Log into www.distrokid.com and click on the “More” button (in Upper Right) > Account Settings > Credit Card to update your payment information.

    Trying to log into your existing DistroKid account but being asked to choose a plan instead? That usually means that you signed up with a different email address, or entered a typo in your email address. Please make sure you’re using the correct email, and try again. If you’re unsure as to the email address you used to sign up with, please reach out here and we can help locate the email you used to sign up!

    Here’s how to change the email address associated with your DistroKid account:Sign into DistroKidClick “More” then “Account Settings”Click “Account” Boom. If you forgot the email on your account, and can’t log in, please let us know here.

    If you forgot your password:Step 1: Make sure you’re logged out of DistroKid. (Click here, or click “More” > “sign out” to log out) Step 2: Go to distrokid.com and click “Sign In” (top right) > “Forgot your password?” Step 3: You will then be asked to enter the email you used when signing up for DistroKid, and we’ll send an email with steps to reset your password. If you remember your current password:Go to “More” > Account Settings > Account, and click “Want to change your password?” If you forgot your account email:Please let us know here.

    There is a known problem with Amazon’s website that makes it impossible for them to display some non-latin characters, such as cyrillic. Amazon is working on a fix, and we hope to see a solution soon. Rest assured that the correct characters are stored in Amazon’s database, and the customer will receive the right metadata embedded in their purchased tracks, if their player supports these character sets.

    DistroKid is capable of sending an extreme amount of detailed metadata to streaming services. Which is awesome! More info here. Some streaming services can handle it all. Others only have the capability to accept a small portion for now – but likely more in the future. We’ll monitor each streaming partner, and continuously update them with the maximum amount of metadata they can handle at any time. Most are starting with songwriters and producers. Please note that credits may take 1-2 weeks to appear in any stores that accept them.

    DistroKid’s Musician Plus and Label accounts give you access to Estimated Daily Stats from Spotify, Apple Music, iTunes, and Amazon. Sometimes, the sales numbers in Daily Stats differ somewhat from the figures shown in your monthly earnings statements. They may even drop to zero on occasion. Have no fear! ​That’s normal, usual, and nothing to be concerned about. It’s generally an issue with how the stores are reporting to DistroKid (API), and these types of issues generally clear up within 24 hours or so. Also, it’s important to remember that estimated stats come from a completely different system than earnings reports, and any fluctuations will have absolutely no affect on your actual earnings from sales/streams.

    Congrats! This means that your album has been successfully delivered to iTunes, and they’re in the process of making it live in all iTunes stores across the world. Albums sometimes go live in your country after a few hours, and sometimes a few days. Only thing to do now is wait. There’s nothing else DistroKid needs to do at this point, as your album is safely in Apple’s hands now. FYI re: pre-orders: iTunes links default to Apple Music on mobile, where the release won’t be available until the actual release date. You’ll still be able to find your pre-order in the mobile and desktop versions of iTunes, though. You can also try adding ?app=itunes to the end of your iTunes link, which may help force mobile devices to check iTunes directly, rather than Apple Music.

    Sometimes stuff will appear in stores before it has fully processed. If you’re ever worried about something, we recommend giving it 48-72 hours or so to sort itself out. From the time you upload, it can take 1-2 business days for your release to be reviewed, approved, and sent to stores. Then the stores have additional processing time on their end before they push your release live. For more information about the time it takes for releases to go live to stores once approved, please check out the FAQ article here. Delays are rare, but they do happen, and are often out of our control. Please double check this article in regard to release dates–Particularly the “Note” section.

    If you plan on releasing music between November 22, 2019, and January 3, 2020, stores ask that you remember to check the following delivery deadlines. Holiday Season Delivery Schedule Release DateDelivery DeadlineNovember 22, 2019 Friday, November 15, 2019November 29, 2019Friday, November 15, 2019December 6, 2019Friday, November 22, 2019December 13, 2019Friday, December 6, 2019December 20, 2019Friday, December 6, 2019December 27, 2019Friday, December 13, 2019January 3, 2020Friday, December 13, 2019 Music delivered after these deadlines may not be available on the desired release date.

    Some streaming services don’t allow name change requests. Although some stores are currently honoring name change requests, not all stores are able to process them. DistroKid won’t send conflicting metadata to different services – because most artists would prefer to have the same name across all services. We know that this is annoying, and we’re working on getting all streaming services to honor name change requests. But for now, they don’t. You are more than welcome to use the new artist name on any future releases, but any existing releases will need to retain the current artist name.

    Most stores & streaming services compress audio files to make them download faster. An unfortunate side-effect is that compressed audio may not sound as good as the original tracks you uploaded to DistroKid. As compression technology advances and bandwidth gets faster, this will become less of a problem. In the meanwhile, there’s usually a way for listeners to make audio sound better. For example, in the Spotify app (desktop or mobile), paid users can go into “Preferences” and turn on “High Quality Streaming.”

    Each store has their own style guide–the way in which they show information. When you upload music to DistroKid, we reformat the data & deliver it separately to each store, complying with each stores’ style guide. Below is an example of how featured artists look differently in Apple Music vs Spotify. Apple Music: Spotify:

    If you searched by artist name or release title and still cannot find your music, it is likely that one of the following has occurred: Music is not live yet: See here for live timesStores are still indexing your artist name. Until your name is indexed, it may not appear in search, despite your music being live. Stores handle this internally (we don’t control search results), but it shouldn’t take too long for them to index your name shortly after your release is live. This generally happens if this is the first time using your artist name.Your release title is too common. If you have a common song or album title, such as “Home,” it may not show in search results at the top, if other releases are very popular in rank.

    It can take up to a week or so for your first DistroKid upload to go live in all stores. (For more information about the time it takes for releases to go live to stores, please check out the FAQ article, here) Even after your release has gone live, it may require some additional processing time before DistroKid detects your release(s) in stores. If you’re trying to get your Spotify artist page verified and you see a message saying that your release has not yet been detected, please try again later.

    They are not. However! If your release contains cover songs, you can still opt into YouTube Money, and we’ll send it without the cover songs.

    YouTube Music is a streaming service where subscribers can stream your music, just like other streaming services. The music you distribute to YouTube Music through DistroKid will not be identified by Content ID, unless you also opt into Content ID through DistroKid’s optional YouTube Money service. If you opt into YouTube Money but want to allow specific videos to use your music without Content ID claims, you can do so here.

    Google Play and YouTube Music used to be separate option on DistroKid’s upload page. Due to a change on Google’s side, uploads to Google Play are also added to YouTube as an “Art Track” (your album art as the video, with the music playing. Example here). This helps ensure maximum possible exposure (and revenue) for your music. As YouTube has its own music service, Art Track Videos act just like streaming subscription tracks. This doesn’t preclude you from uploading your own separate video to YouTube for the same song. In fact, most major artists upload via a service like DistroKid to get an Art Track into YouTube, and then separately upload a music video directly to YouTube. Here’s an example from possibly the biggest song of 2017, “Despacito”:”Despacito” official video:https://www.youtube.com/watch?v=kJQP7kiw5Fk “Despacito” Art Track Video: https://www.youtube.com/watch?v=Cv61KxM2m1s (Note: YouTube Music is currently available in the US, UK, Germany, France, Spain, Italy, Russia, Canada, Norway, Ireland, Finland, Norway, Sweden, Australia, New Zealand, Mexico, and South Korea, and will be available anywhere YouTube has a subscription music service as new territories are supported. If you’re trying to play YouTube Music Art Track videos from outside of these supported territories, you may see a message that the content is not available.)

    YouTube Music is currently available in the US, UK, Germany, France, Spain, Italy, Russia, Canada, Norway, Ireland, Finland, Sweden, Australia, New Zealand, Mexico, and South Korea, and will be available anywhere YouTube has a subscription music service as new territories are supported. If you’re trying to play YouTube Music Art Track videos from outside of these supported territories, you may see a message that the content is not available.

    DistroKid’s optional Content ID extra “YouTube Money” is powered by Audiam. Please check out the Audiam FAQ for very specific information about Audiam & YouTube: http://www.audiam.com/faq/ For more information about YouTube Money, please check out the FAQ article here.

    YouTube Music is a music streaming service from YouTube. Your music and artwork will be automatically combined to create an “Art Track,” which is a video on YouTube that displays your artwork & plays your song. You’re paid for each monetized play of your music. A “monetized” play is when YouTube displays an ad on the video, or when a YouTube Music paying subscriber listens (in which case you’re paid, pro-rata, based on how much he’s paying and what percentage of the time he listened to your tracks). YouTube Music is currently available in the US, UK, Germany, France, Spain, Italy, Russia, Canada, Norway, Ireland, Finland, Norway, Sweden, Australia, New Zealand, Mexico, and South Korea, and will be available anywhere YouTube has a subscription music service as new territories are supported. If you’re trying to play YouTube Music Art Track videos from outside of these supported territories, you may see a message that the content is not available. Here’s some more information: http://youtube-global.blogspot.com/2014/11/youtube-music-2014.htmlhttp://www.theverge.com/2014/11/12/7201969/youtube-music-key-new-subscription-service

    Claiming your Official Artist Channel on YouTube is quick and easy when you use DistroKid. How to claim your YouTube Official Artist Channel:Make sure you already have a channel dedicated to your content as an artist on YouTube. If not, please create one, and name it after your artist name.*Make sure your artist has at least one release that has selected “Google Play/YouTube” as a store.Go to the YouTube Official Artist Channel section of your DistroKid account (Click the “More” menu > “Streaming Service Goodies”)Select the artist you want to associate with your YouTube channel.Authenticate into your YouTube accountClaim your channelDone! *Note: You can only link one artist to a YouTube account. A label channel cannot be converted to an Official Artist Channel. — Once your Official Artist Channel is approved, you’ll have access to some exciting new features on YouTube, including:Increased visibility through YouTube searchAccess to artist specific tools and analytics in YouTube StudioThe ability to update your YouTube Music pic & bioExclusive access to data and analytics through YouTube Analytics for ArtistA verified music note next to your channel name Here’s a video from YouTube with some additional info about what it means when DistroKid helps you qualify for an Official Artist Channel: Enjoy!

    If your release contains any audio (beats, loops, samples, video game sounds, other peoples’ music…) that you didn’t create yourself, it is unfortunately ineligible for YouTube Money. YouTube is really serious about this stuff. All of the following must be true for a release to be eligible:You created all of the sounds yourYour release does NOT contain beats, loops, sound effects, or other audio downloaded from sample libraries or other public sources. This includes sounds that are available for free from GarageBand, Ableton, Logic, Fruity Loops, etc.You will not allow other artists to remix your song(s), or use any of the sounds from your song(s) in their own songs. That’s because if their remix gets uploaded to YouTube, Content ID may claim it as yours. Or if the remixer opts into Content ID, it may think your version is the same song, and claim it as theirs. It’s all very complicated.Your release does NOT contain public domain recordings or songs.Your release does NOT contain sounds from video games, television, movies, etc.Your release does NOT contain any audio from other peoples’ YouTube videos.You are the only person who will add this single to YouTube Content ID. Nobody else (band members, producer, etc.) will also try to add it to YouTube Content ID, because that causes a mess.You have NOT used another company, such as TuneCore or CD Baby, to submit this single to YouTube Content ID. That will cause a conflict, and a mess. Due to the sample-heavy nature of Hip-Hop and Electronic/Dance music, these genres are currently ineligible for YouTube Money.

    Earlier this year, Google announced plans to sunset the Google Play Music service. Please visit this page for the latest updates from Google:https://support.google.com/googleplaymusic/answer/9973710?hl=en

    When you upload your music using DistroKid, your music will appear in YouTube Music (YouTube’s streaming service) and on YouTube as Art Tracks. Art Tracks will be placed on an auto-generated YouTube channel known as a Topic Channel. If you have an artist channel on YouTube, then you can easily claim your Official Artist Channel by using DistroKid. Once you have an Official Artist Channel, all of your Art Tracks will appear on your artist channel instead of the auto-generated Topic Channel.

    DistroKid offers an optional upgrade called “YouTube Money.” We’ll add your audio to YouTube’s Content ID system, which scours YouTube for videos that use your music. When a match is found, ads show on the video and you’ll get the ad revenue. If you have a video on YouTube that uses your own music, you’ll likely get an email from YouTube that there’s been a copyright claim against it. This is nothing to worry about–it’s YouTube’s ContentID system doing its thing. You can safely ignore the message. Ads will appear on your video & we’ll send you the money earned. YouTube may say the copyright claim is from “Audiam” or “Interstreet Recordings.” These are the services that help power DistroKid’s “YouTube Money” feature. You can safely ignore the email. They’ll send the ad revenue to DistroKid, and DistroKid will send it to you. If you opt into YouTube Money but want to allow specific videos to use your music without Content ID claims, you can do so here.

    iTunes Match is a service where music fans pay Apple $25/year to be able to upload their entire music collection to the Apple cloud and stream it from Apple’s cloud to any device. Music fans can even upload & stream music they didn’t buy from iTunes. Artists like you get paid every time one of these subscribers streams one of your songs. There are two reasons why iTunes Match is great for artists:1) Artists get paid every time a fan streams their song — even if the fan already bought the song. In this case, it’s like the artist is getting paid twice (once for the download, once for the stream). 2) In the event that a fan downloaded your song illegally or through some other means where they didn’t pay for it — the artist still gets paid every time that song is streamed by an iTunes Match subscriber. Which is cool.

    Yes! Apple Digital Masters (formerly ‘Mastered for iTunes’) allows you to deliver high-resolution masters with the highest quality audio to Apple. Make sure your audio is a 24-bit resolution WAV file, with a sample rate of 44.1kHz or higher. By encoding from high-resolution masters, Apple music engineers are able to capture all of the detail of a recording in a size that is convenient for streaming and downloading. Using 24-bit files means less noise and higher encoding efficiency, making your uploads virtually indistinguishable from the original master recordings. If you already have your music mastered via an approved Apple Digital Masters mastering house, let us know and we can enable you to upload this audio. Once enabled, you’ll be asked to enter the email address of your Apple-approved Apple Digital Masters mastering house on the upload form. Note: All former Mastered for iTunes songs will continue to be available under the Apple Digital Masters program

    We’re currently running some beta tests with Beatport, and we’ll have more info once we see how everything works! If you’re interested, please contact us.

    Pandora has several services. One of them is called “Pandora Premium.” We can help get your music into Pandora Premium. But first, some background. Pandora has three services:Pandora (free) – Pandora’s ad-supported radio servicePandora Plus – Pandora’s paid (no ads) radio servicePandora Premium – Pandora’s paid on-demand service (works like most other streaming services) When you select “Pandora” on DistroKid’s upload form, we send your music to Pandora. Pandora’s services are curated by Pandora (info here). Curation means there’s no guarantee your music will be selected, but if Pandora likes your music, it’ll go live in “Pandora (free)” and “Pandora Plus” and there’s nothing else you need to do! Getting your music live on Pandora Premium requires an additional step you’ll have to go through. If you have content that is being distributed to Pandora but is not yet live, please sign into your Pandora account and complete the simple three-step form at amp.pandora.com/submit. While your content may be delivered to Pandora by DistroKid, Pandora is still a curated collection. Submitting your content will prioritize it for review by Pandora. Hope this is helpful, thanks for reading!

    Stores consider a release to be an “EP, when it has:4-6 tracks with a total running time of 30-minutes or less. -OR- 1 to 3 tracks, with one track at least 10-minutes long, and a total running time of 30-minutes or less.

    Most stores consider an album to be a “single” if it contains 1-3 tracks, that are each less than 10 minutes. If you upload an album with 1-3 songs to iTunes, iTunes will automatically add the “- Single” notation to the end of the album title. See below…

    HyperFollow is a completely free (and awesomely powerful) promotional tool that is available for all DistroKid artists. These days, it’s a must to have one link that leads to your music on all streaming services, and that’s where HyperFollow comes in! The instant you finish uploading your release, you can start promoting and collecting pre-saves on Spotify (including fan email addresses) with HyperFollow. As soon as your release goes live on its release date, your HyperFollow page will AUTOMATICALLY UPDATE(!) to include links to other streaming services. Your HyperFollow link never changes, and you’ll never have to update your marketing copy or social media posts. You can find your HyperFollow link on your DistroKid album page, or by clicking “HyperFollowâ€_x009d_ under the MORE menu when logged in. Here are some of the additional benefits of using HyperFollow:More followers! Anyone who clicks the button on your HyperFollow page will automatically follow you on Spotify. More listeners! In addition to following your artist page on Spotify, whoever clicks the button will also automatically save your album to their Spotify library. More contacts! You will be given each fan’s email address. More research! You will have access to the city-level geographic location and other (anonymized) demographic information about your fans. More insight! You’ll be able to see the other music that your fans are listening too. Even if those other artists don’t use DistroKid. More stats! You’ll know how many people visited your HyperFollow page, and how many followers you added. Need to edit your HyperFollow page? Check it out! https://distrokid.zendesk.com/hc/en-us/articles/360039543054

    Yes! If you’re interested in adding your music to TouchTunes, please contact us. Opting in will also automatically send your music to PlayNetwork. While we can submit your music to TouchTunes and PlayNetwork, their catalog is hand-curated based on industry research and popularity as it relates to their particular needs. Therefore not all of the music they receive will be made available. Because we don’t control the curation process, we’re not able to provide much info with regard to what gets chosen, or how long it will take to go live in TouchTunes and/or PlayNetwork. To find out if you’ve been added to TouchTunes, you can use the TouchTunes app to search for your music on a jukebox. Note that the catalog may differ depending on your location. For more info about TouchTunes, check out their website: https://www.touchtunes.com/

    Facebook & Instagram are building a music catalog. DistroKid can get you in! For more information, see our blog post here: https://news.distrokid.com/facebook-507b5e567593 Frequently Asked Questions:How do I send my music to Facebook? To get your music into Facebook’s music catalog:New music: Just select the “Instagram & Facebookâ€_x009d_ checkbox when uploading your music to DistroKid.Old music: Sign into DistroKid → Click your album → Click “Add to more storesâ€_x009d_ → Choose “Instagram/Facebookâ€_x009d_ → Click “Addâ€_x009d_. If you don’t see “Instagram/Facebookâ€_x009d_ here, congrats, you must’ve opted in when uploading your music & it’s already been added. How does Facebook’s Monetization service work? Opting into distribution to Facebook/Instagram allows users to put your music in the content they create and share on Facebook and Instagram. This includes features such as a searchable Audio Library. Sending your music to Facebook allows your music the chance of earning revenue. Note: Some videos may be muted due to product restrictions. In general, Facebook/Instagram videos that mimic an audio-only listening experience are not permitted. Examples include still image videos, or live streams with large amounts of matched audio. How much does it cost to monetize my music on Facebook/Instagram? There is no charge for opting into distribution to Facebook/Instagram.

    Yes! You can opt into Pandora at no additional charge. We will submit your music to Pandora, but that’s no guarantee it will go live in Pandora Radio. That’s because Pandora Radio has their own in-house review process for curating content. And because Pandora’s curation process is out of our (or anyone’s) hands, we’re not able to provide much info with regard to what gets chosen, or how it will take to go live in Pandora. To have your music included in Pandora Premium, Pandora’s rad streaming service, there’s an extra step you need to take. You can learn about that HERE. A good way to find out if you’ve been selected for Pandora, is to to type your artist name or song title(s) into the Pandora app sometime (a week? longer?) after you’ve uploaded the music to DistroKid. If your search shows results, then… congrats! You’re in! Another way to know if you got selected, is if you start to see Pandora earnings in your DistroKid account. Click here for more information on DistroKid earnings.

    Spotify gives artists an easy way to pitch music for playlist consideration. To be considered, your release date must be at least 3-weeks in the future (only possible with DistroKid’s “Musician Plus” or “Label” plans). Here’s info from Spotify on how to pitch:https://artists.spotify.com/blog/share-new-music-for-playlist-consideration Here’s an article that explains how Spotify’s curators make decisions:https://artists.spotify.com/blog/behind-the-playlists-r-and-b Good luck!

    If you have uploaded a release via DistroKid and need to grab your Artist, Album, or Track URI, you can use DistroKid’s URI Looker Upper! Check it out at here: https://distrokid.com/uri Note that for super recent uploads, you may need to wait a day or two for a URI to populate. If you need a URI for a release that you didn’t upload through DistroKid, follow these steps in the Spotify Desktop application (not the web version):Click to the three dots next to the artist name/album/track titleClick ‘Share’Click ‘Copy Spotify URI’ from the second menu

    Google Knowledge Graphs are created based on a number of factors that DistroKid has no control over. We have, however, heard that making a Wikipedia and/or MusicBrainz page is helpful. In general, the more the more information about your music you have online, the more likely Google is to make it. Nothing we can guarantee, though.

    When uploading to DistroKid, you may be asked to enter your “Apple Artist URL.” Here’s how to find it:Make sure you’re on a computer (not a mobile device)Open the iTunes appSearch for your artist name in iTunesRight-click (or control-click on Mac) your artist nameGo to “Copy Link” That’s it! You can now go back to DistroKid’s upload form and paste in this URL.

    For obvious reasons, you may want to obtain links for your music on storefronts, so you can point fans directly to your releases on any given store. To obtain a link, simply find your release on any given store (search by artist name or release title), then right click on it, then click ‘copy URL’ or ‘copy link’ (may differ from store to store, but generally similar wording). Once you have this link, feel free to share it with fans, so they can find your music on whichever store you are pointing them to. Each store has a different link, so you’d need to share links to individual stores separately.

    YouTube Music is YouTube’s streaming service. DistroKid lets you easily add your music to YouTube Music – just select “Google Play/YouTube” on DistroKid’s upload form. When you upload your music using DistroKid, you can also upgrade your artist YouTube channel to an “Official Artist Channel”. You can do this when you upload your next new release, or by going to the Official Artist Channel page in your DistroKid settings. If you haven’t upgraded your artist YouTube channel to an Official Artist Channel, then YouTube will post your music on what is called a Topic Channel.Topic Channels: Many artists are automatically assigned a topic channel. This is usually your name, followed by “-Topicâ€_x009d_. For example, Drake – Topic. Note that this a different channel than his Official Artist Channel, Drake. Both of those channels contain his music. If you do not claim your Official Artist Channel, fans will be directed to your Topic Channel on YouTube.Various Artists – Topic: Many times, YouTube adds artists’ music to a channel called “Various Artists – Topic”. This is usually for undiscovered artists with smaller play counts. When an artist becomes more popular, their music is often moved (by YouTube) to a hashtag channel. Learn more about how to claim your Official Artist Channel.

    Spotify Updating your artist pic & bio is done through Spotify for Artists. Get instant access to Spotify for Artists. iTunes/Apple Music You can edit your artist image directly via Apple Music for Artists. If you’re not already registered, sign up for Apple Music for Artists through Apple directly: https://artists.apple.com. When asked for contact info, you can use your own. Google Play/YouTube Music To manage your profile on YouTube Music, claim your Official Artist Channel through DistroKid by following these steps. Musixmatch Get verified and update your profile on Musixmatch by following these steps. Deezer, Napster & TIDAL Contact us Shazam Sign up for Shazam for Artists. Other Services You may need to reach out to stores individually or check their FAQ. There’s a company called AllMusic Guide that manages a database of music releases. They provide bio and review information to stores including iTunes, Spotify, and other outlets. So try them. Hope this is helpful!

    Getting verified on Spotify is easy when you use DistroKid and takes less than a minute. To get instantly verified on Spotify:Sign into DistroKidClick “More”Click “Streaming Service Goodies”Click “Spotify for Artists” and follow the instructions. Verification also gives you access to “Spotify for Artists” which is Spotify’s app that offers:​Stats you can’t get anywhere elseThe ability to update your Spotify artist pic & bioAccess to the Spotify team to answer your questionsA blue verified checkmark FYI, it can take up to a week or so once your first DistroKid upload is live in Spotify before your release is fully processed and recognized in the system to be able to verify your artist page. If you see a message that says “Looks like you don’t have anything live in Spotify (or we haven’t detected it yet),” check back in 24-48 hours or so. If you need to get verified before your first release goes live, let us know, and we can send over your Spotify artist URI, so you can verify directly with Spotify the old fashioned way. Enjoy!

    Stores sometimes group artists together who have the same (or similar) names, or create a new artist page instead of using your existing page. We can help! Please visit https://www.distrokid.com/fixer, where we’ll walk you through getting things fixed up!

    Yes! DistroKid is the first distributor to help artists get their releases uploaded to TikTok! TikTok is brand-spanking-new to DistroKid, so it’s still in beta. We’ll have more info about how it all works in weeks to come, but here’s what we know so far:You can opt into distribution to TikTok in top section of the upload form, along with other stores and streaming services. Or, to add previously uploaded music to new stores, simply click “Add to more stores” on your album dashboard page. Once you have clicked this, you will be prompted with a list of stores that your music is not on from previous distribution. Select the stores you wish to add for distribution, and click “add.”Releases should go live and be searchable in the app within 1-3 weeks of being submitted via DistroKid.Your music can earn money when it’s included in a video by a TikTok user.TikTok is not a music service where users can stream full-length music on-demand. Users can embed song clips into their videos.

    Synchronized Global Release (SGR) allows everyone with a Musician Plus or Label plan to choose a custom release time in Spotify. If you want, you can even release your music simultaneously in every country – at the exact same time! Keep in mind, if you choose 12:00 AM EST, it’ll still be the day before in a handful of countries. For example: Spotify shows the date of earliest time zone your release will go live in, so it might look like it’s being released early, but it’s just being released at the time your requested around the world at the same time! To check various time zones around the world, something like this website may come in handy.

    Spotify’s Canvas feature allows artists to further their listeners’ experience by creating their own looping visuals in the “Now Playingâ€_x009d_ view – the most viewed location in the Spotify mobile app. Canvas is currently only available to a beta group by invitation-only through Spotify for Artists, but you can request access from Spotify directly by following the steps below:Visit https://spotifyresearch.typeform.com/to/kPKC3KEnter your Artist URIEnter your nameEnter the email address connected to your Spotify for Artists account.Submit

    Yes! At this time, TikTok, Apple Music and iTunes allow you to request a specific start time for audio previews. For new releases, on the upload form you can select which portion of your track users hear when previewing your release. Simply select “When the good part starts” on the upload form to specify which part of the track you want available for previews. If your release is already in stores, no worries! You can head to your album page, click on the “Edit Release” button, and then send a request to stores to specify which portion of that existing track needs to be included in the preview as well.

    Twitch has a music service called Soundtrack by Twitch, which gives artists the ability to potentially get their music played to twitch streams. DistroKid makes it easy to get your music into this service. You can find more details about this service in Twitch’s FAQ, here:https://help.twitch.tv/s/article/soundtrack To send your music to Twitch, just select “Soundtrack by Twitch” on the DistroKid upload form. You don’t need a Twitch account to do this. To add previous releases to Twitch:Sign into DistroKidGo to your album pageClick your album (or single)Click “Add to more stores”Select “Twitch” If you’d previously added your release to our Store Maximizer album extra, we’ll add it for you, automatically. Also! If you have a Twitch channel, you can link that channel to your music. That way, Twitch will link to your Twitch channel (and your Spotify page) whenever your music is streamed. To do this, visit: http://distrokid.com/twitch-connect. Please note: Soundtrack by Twitch is curated by people at Twitch. We’ll submit all releases that opt into Twitch, but can’t guarantee your music will be selected for Soundtrack playlists or stations. We’ll try to keep this page up-to-date as more announcements are made about this service. Stay tuned!

    DistroKid makes it easy to get your lyrics into iTunes and Apple Music. Visit the lyrics dashboard in your DistroKid account by:Sign into DistroKid → Click the “More” menu → Click “Lyrics” Please ensure your lyrics comply with the guidelines belowApple music guidelinesMusixMatch guidelines Once you submit lyrics, it takes around 2-3 business days for them to go live in stores LikeApple MusicInstagram/FacebookMusixMatchLyricFind,etc.Learn more about where your lyrics are distributed.

    Plain lyrics are just the plain text of your lyrics. Synced lyrics are lyrics that are timed to your music. On platforms that support synced lyrics, like Apple Music and Instagram, your fans will see your lyrics scroll in time with your song for the best sing along / Instagram story experience.

    Synced lyrics are only available to:Artists with Musician Plus or Label accounts.Songs with approved plain lyrics. So if you just uploaded some plain lyrics, just hang on while we review your lyrics. It should only take a day or so for lyrics to be reviewed. The first step is to upload plain text lyrics at www.distrokid.com/lyrics. Once approved, you can then sync your lyrics to you songs. For more information about where lyrics will be delivered, click here.

    DistroKid sends your lyrics toApple MusicMusixMatchInstagram/FacebookLyricFindGoogle Search Resultsand more Only synced lyrics will be sent to Instagram/Facebook. For examples of how lyrics will be displayed in Apple Music, please see https://support.apple.com/en-us/HT204459. Note: It may take up to 3 weeks for your lyrics to show up on Instagram and other platforms. Delays are rare, but they do happen, and are often out of our control. We recommend checking this FAQ in regard to release dates, particularly the “Noteâ€_x009d_ section.

    Streaming services have pretty specific requirements for submitting your lyrics:Do not include the vocalist’s nameDo not include extra text (ex: “intro”, “chorus”, social media links, etc.)Repeated lines must be written out. Don’t write “Chorus 2x” etc.Begin each line with a capital letterDo not use punctuation at the end of a lineDo not include blank lines except between verses or chorusAvoid entering excessively long lines. One sentence per lineDon’t censor explict words unless the words are dropped/bleeped in the audio recordingExample: Don’t enter “F***”, unless the word was dropped or bleeped The most common reasons that stores reject lyrics are:No line breaks between sections (verse/chorus/bridge/etc.)Too many line breaks (unnecessary spaces between each line)Too many grammar/spelling/capitalization errors For a complete list of store requirements, visit Musixmatch guidelines and Apple guidelines.

    When uploading a clean and explicit version of the same song, mark the Explicit track as Explicit, but list the Clean version without the Explicit tag and specify that it’s a “radio edit” on the upload form.Please also format the song title as “Song Title (Radio Edit)” if it’s a single. If you’re uploading the clean version of an entire album, format the album title as “Album Title (Radio Edit)”.

    Many artists use profanity in their music. This is a situation where music should be labeled as explicit. This Wikipedia article explains more about Parental Advisory labeling: http://en.wikipedia.org/wiki/Parental_Advisory It’s also worth noting that there are a handful of countries that will not accept albums with explicit content.

    Yes! You can list up to 3 primary artists per release. Your release will show up on each artists’ pages, in stores & streaming services. To specify a collaboration, just use a ampersand (“&”) in your artist name. DistroKid will automatically detect this, and ask you if it’s a band name, or a collaboration. Select collaboration. Example below: Please note: collaborations take up an artist slot, even if one of the artists is already being used on your account. If you need more artist slots, you can upgrade your account.

    How do collaborations work on DistroKid?

    DistroKid makes it easy to add collaborators to individual tracks. If someone has bought the entire album (versus buying or streaming an individual track), we’ll automatically calculate a pro-rata split. Sample: Let’s say you’re owed 50% of one song, then you would receive 25% of the total dollar amount from that sale.

    Can you have multiple artists on DistroKid?

    Yes, Musician Plus and Label plan users are eligible for the NCS music copyright free feature.

    How do you add a collaborator on DistroKid?

    If you have collaborators, make sure that they are on your account. If not, they will get an email with a discount code which can be used when signing up to become your partner for ten dollars.

    What does it mean to collaborate with other artists?

    Music collaborations are when two creatives come together to make something. It usually creates a better product than either could do alone, because it combines their skills and knowledge.

    Our genre list is comprised of all genres accepted by all outlets we distribute to. If you don’t see the genre you want, don’t worry! Just select the genre that most closely describes your music. If/when we add more genres, you’ll see them on the upload form.

    The maximum size that DistroKid will accept is 250MB. If you have a track that’s larger than that, consider converting it to FLAC format before uploading to DistroKid. FLAC is a beautiful, lossless format (same audio quality as WAV) but the files are relatively small. DistroKid has no limitation to the length in minutes that a track can be. However, albums cannot contain songs where the average track length is less than 60 seconds.

    Audio files should be WAV, MP3, AIFF, CDDA, M4A, Windows Media (WMA), or FLAC. If you’re sending a WAV, we accept up to 24-bit, 96 kHz, or less. 16-bit, 44.1 kHz WAV is typical but pretty much anything works.

    Yes. As long as it’s your music and you’re legally allowed to sell it, blah blah blah. For “language,” choose whatever language your music speaks to you in. Figuratively speaking. Or… whatever language you like.

    Good news! Streaming services are starting to give credit where it’s due. That means, among other things, showing who wrote every song. Typically, songwriters are listed using real names–not stage names or rapper names or band names. Don’t worry if you use a stage name–your real name won’t be displayed prominently. But it will be displayed when a listener views the “credits” of a song. For example, see the 2 Chainz the song “Bigger Than You (feat. Drake & Quavo)” on Spotify (here). As you would expect, the artist names are listed as:2 ChainzDrakeQuavo However, if you look at the credits for that song on Spotify (here’s how), you’ll notice those artists’ real names are listed as songwriters. Their real names are, respectively:Tauheed EppsAubrey GrahamQuavious Marshall See screenshot from Spotify, below.

    Album artwork needs to be JPGs, with RGB color. Usually you don’t have to think about this — every digital camera and photo retouching program (like Photoshop) defaults to RGB. So you’re all good. However, sometimes for whatever reason, you may have saved artwork in the CMYK or Grayscale color space, and DistroKid gives you an error. If this is happening to you, re-save your artwork in RGB format. If you use Photoshop, click here to see how. If you don’t have Photoshop, uploading and re-saving your file with the Pixlr editor will automatically convert it to RGB.

    The minimum requirement for album art is 1000×1000 pixels. Ideally, album art should be a perfectly square jpeg, 3000×3000 pixels. If your artwork is smaller, or rectangular, we’ll automatically fix it for you–but there’s a risk that our fixed version won’t look exactly as you intended. Please also make sure your artwork is in the RGB colorspace. More info here. Stores will reject artwork that containsA website address (URL)Twitter nameThe terms ‘Exclusive’ or ‘Limited Edition’Any image that’s blurry, pixelated, rotated, or poor qualityUnlicensed/stock photographyPricesStore logos (such as iTunes or Spotify)NudityGross stuffReferences to physical media (example: “CD” or “Compact Disc”) Also, please do not use the same artwork for multiple albums. Duplicate album art may be rejected.

    If you already officially released your album, even as a physical release, please specify the original release date at the top of the upload form. This includes different versions of a previously released album (remastered, re-issue, deluxe, etc.) If you rerecorded the album, however, then it does not count as previously released.

    Stores don’t accept song titles that contain:Too much extra informationStrange things in parenthesisOdd punctuationDates or yearsPrimary artists listed also as featured artistsURLs, contact information, social media names, or store names.”Official” within artist names Here are examples of song titles that look incorrect:Track 1 – Stairway to HeavenBillie Jean (performed by Michael Jackson)”Sad But True” by MetallicaBeyonce – Crazy In Love ft. Jay-ZMoney For Nothing 1984Honey I’m Good (122 BPM)Forgot About Dre (Hip Hop)I’m High (Drake Type Beat) Here are examples of those same song titles that look correct:Stairway to HeavenBillie JeanSad But TrueCrazy In Love (feat. Jay-Z)Money For NothingHoney I’m GoodForgot About DreI’m High

    You can use our super slick and secret tool to lock your capitalization in the way you like it. Please click here to see where to do that. Please note that stores don’t love this, an