A well-prepared mix gives a mastering engineer a clear, accurate starting point. Before exporting, check that your session plays cleanly from beginning to end, your mix bus processing supports the sound you want, and your final file preserves the detail of the mix. A few simple steps can prevent avoidable revisions and help communicate your priorities. Use this checklist to prepare an export that is technically sound and easy to interpret.
Check the Mix Before Exporting
Listen through the entire track, including the opening, ending, and any transitions. Check for clicks, muted elements, unwanted noise, clipped peaks, and effects that cut off too soon. Confirm that edits, automation, and fades behave as intended. If you are sending multiple songs, compare their balances and transitions in sequence so the engineer can understand how they fit together.
Decide which mix-bus processors are essential to the sound. Keep compression, saturation, or limiting if they are part of the production you want to preserve, but avoid adding processing simply to make the export seem louder. If you are unsure whether a processor is helping, create an alternate version without it and label both clearly.
Set Headroom Thoughtfully
Leave space between the mix’s loudest peaks and digital full scale. There is no single peak target that suits every mix; the useful goal is a clean file with no clipping and enough room for mastering adjustments. Do not turn down the master fader to hide clipping earlier in the signal chain. Check individual tracks, buses, and plugins if you see overload indicators.
Avoid using a final limiter to push the mix toward commercial loudness unless that sound is a deliberate part of the production. If you want the mastering engineer to judge the unprocessed dynamics, export a version with the mix-bus limiter removed. You can also provide a processed reference, clearly labeled, so the engineer can hear the loudness and tone you have in mind.
Export a High-Quality File
Export an uncompressed WAV or AIFF file at the session’s native sample rate and bit depth when possible. A common delivery choice is 24-bit PCM, but follow the mastering studio’s specifications if they request something different. Do not convert the session to a lower sample rate or bit depth just for delivery unless asked; unnecessary conversion can reduce quality.
Disable normalization and lossy encoding for the main mix export. Confirm that the file begins and ends where intended, includes any reverb or delay tails, and plays back without distortion. Use a clear filename with the song title and version, such as “SongTitle_Mix_v3.wav.” If you send alternate mixes, identify each one by its difference, such as “instrumental” or “no lead vocal.”
Share Useful Listening Notes
Keep your notes brief and specific. Identify the intended format or use, the reference tracks you are using, and the qualities you value in them. Describe what you want listeners to notice, such as a vocal that stays forward or a low end that remains controlled. References should guide the conversation, not imply that your track needs to match another recording exactly.
Flag any known mix decisions or concerns, including intentional distortion, a deliberately quiet section, or a vocal effect that may sound unusual out of context. Mention exact timestamps when you want attention on a particular moment. If you provide alternate files, explain which version is your preferred starting point and what changed between versions.
Before sending your mix, verify the export settings, listen to the rendered file, and label every version clearly. Include concise notes that distinguish essential creative choices from open questions. This preparation helps the mastering engineer focus on the sound and goals of your track. Contact Mile High Mastering to discuss your project and delivery requirements.