Mixing and mastering.
4.1 Mixing Checklist
☐ Abstraction for mix (“How do I want this to sound/feel?”).
☐ Design signal flow: Instrument Tracks → Instrument Submasters → Group/Section submasters → Mix Processing Bus → Trim Bus.
☐ Bit depth / sample rate.
☐ Export/Import all tracks.
☐ Placement/arrangement of tracks.
☐ Color code sections/instrument families.
☐ Sub‑mix groups and submasters.
☐ Groups (editing & visibility) – create two per section (one with submasters, one without).
☐ Signal level of each track (not too hot at peak).
☐ Clip gain adjustments (shoot for -18 dB RMS / -6 dB peak).
☐ Resource management – delete unused plug‑ins/channel strips to prevent crackling.
☐ Relative volumes/balance of all signals.
☐ Verify all tracks hitting between -12 dBFS and -6 dBFS.
☐ Panning of tracks.
☐ Tape Machine Types & Settings on tracks and aux/sends.
☐ Melodyne pitch & sibilance (if not done in production).
☐ Re‑record vocal with hardware insert (if applicable).
☐ EQ – remove 100Hz boost from higher instruments; use API trick (+1 click 3k/5k) on guitars.
☐ Console plug‑ins (SSL compression trick, console shootout).
☐ Parallel compression (especially drums and lead vocal).
☐ Distortion / Saturation.
☐ Automation of parts; automation of sections – write on submasters to build toward climax.
☐ Compression of subgroups.
☐ FX processing (reverbs, delays) – felt not heard; use reference tables for instrument‑specific choices; maintain cohesive palette across album.
☐ Add to new & useful plug‑in settings cheat sheet: e.g. AMS -> doubling, Cooper Delay -> default for widening, Oceanway in reverb mode.
☐ Sub‑Main fader (all submasters → processing bus → trim bus) for -6 dB peak control.
☐ Mix bus compression/tape emulation.
☐ Leave headroom (-6 dB to -3 dB peak) for mastering.
☐ Real‑time mixdown (test vs offline if unsure).
☐ Quality control: A/B against earlier mix version; test on consumer systems; hold listening party (CST).
☐ Use same/similar mix template for all tracks; consider alternate versions in one file.
☐ Consistent file naming convention.
☐ Parallel processing: mix all songs in rotation. After mixing, play all songs back‑to‑back to check relative levels and tonal consistency.
4.2 Mastering Checklist
☐ Mix peaks at -6 dBFS (use Mix Processing Bus). No limiting on mix bus. Check true peaks.
☐ Bit depth / sample rate.
☐ Gain structure.
☐ Trim/fade beginnings and ends of files.
☐ EQ for slight adjustments to problem areas; EQ for all tracks for similar sound.
☐ Define integrated LUFS targets per genre before processing.
☐ Quality control – listen on multiple systems (car, earbuds, phone, TV, Hulu); hold listening party (CST).
☐ Realtime bounces.
☐ Create dedicated mastering session with all songs on separate tracks.
☐ Apply gain trims to build album loudness arc.
☐ Use genre‑specific mastering chain (e.g., tape → imager → EQ → compressor → maximizer).
☐ Set limiter ceiling to -1 dB (true peak).
☐ For loudest track, allow 6‑8 dB gain reduction, but no limiting on quiet intros.
☐ Create multiple delivery formats: 24/96, 24/44.1, 16/44.1.
☐ Apply dither (POW‑r #2) when converting to 16‑bit.
☐ Create simplified “Plan B” master as safety (e.g., only Adaptive Limiter).
☐ Master all songs in rotation; then listen to full album sequence to verify loudness arc.