Mastering is the endgame before your project is gifted to the cosmos. Moom Mastering is a professional and dedicated, hybrid audio mastering service based in the Pacific Northwest of the United States, which is owned/operated by Storm Spacia; a life-long audio obsessive with over 30 years’ experience as an audio-engineer and muti-genre musician. You can read more about Storm below.
We serve a diverse array of artists, labels, producers, engineers, podcasts and audio book publishers from all types of genres worldwide, assuring that the desired sonic aesthetic for any given project is finalized with competence, compassion and discretion. Whether you require the transparency of digital or the color of analog, we combine your vision with our expertise, to realize your project’s full potential.
Our website has been curated to guide you along the oftentimes overwhelming process of this final stage; tailoring our upload process to stave off potential costly mistakes and delays. We strongly encourage newer and/or D.I.Y., artists, to utilize our extensive Resources and FAQ’s pages. They will serve as a guide in informing you of often overlooked facets of the process and music industry. You will have access to 3rd party content and the ability to access videos, articles and documents without having to leave our site.
In addition to our paid services, we offer free mix consultations and a “free-sample”. For reoccurring clients, we offer discounts. We’ve made our pricing structure simple and transparent, outlining any potential add-ons or additional fees on our Services page. Our Upload page will guide you through the intake process, indicating prices and offering you service and confidentiality options as you go. In closing out your transaction, you will have multiple payment options, from Paypal, Stripe, Affirm and even SEPA for our European clientele. Our website is secured with an SSL/TLS certificate (Let’s Encrypt) on Bluehost, using HTTPS. Your data is encrypted in transit with modern TLS (e.g., TLS 1.3 and AES‑256), which is the current industry standard for secure web connections.
We provide your proofs for review via a hi-def, lossless and gapless audio player from Samply Audio. This is provided via email with a link. The player does not require a login or account and the link is shareable to anyone whom you choose to share it with. During the proof process, we allow for a generous (3) rounds of revisions. Once proofs are approved, we generally supply your deliverables within (2) business days via Dropbox link. As we expand, we look to incorporating our own FTTP server and protocols in the future. We supply you all of the deliverable file types you will need, including MFIT (Mastered For Itunes), as well as options for cassette and vinyl optimization. DDPi images are created using HOFA DDP Creator, an industry-standard authoring tool. These images are verified for compliance in regard to pressing and distribution. We provide you a HOFA player to preview your DDPi, when sending your deliverables.
When your release day arrives, we are more than happy to share your project on our social media platforms. You will have the option to opt in and tailor that option at checkout. We take discretion extremely seriously and will not discuss your project with 3rd parties, unless instructed by you, the client. We have also included a selection on our form prior to checkout for 3rd party and any social media authorizations you wish us to have; otherwise, we retain full confidentiality by default. This assures that you are in control of all communication involving your project. Finally, we do not sell your data.
My obsession with sound began at four years old with my parent’s abandoned record collection and the godlike Technics 1200 turntable, which was absolutely off limits. Music was not played in the household and the album art that I studied for hours on end became sacred and mythical. The liner notes added to the mystery, characters that conjured sounds and often reoccurring magical palaces known as studios where the music was “recorded!”-Wow! The tangible artwork, mystery of how, when and why the music was created and the unheard, phantom sound, created a reverence for the album as a sacred object and mystical artform. I felt it then and I feel it now.
For many years, I continued on my own path of being a musician across a diverse range of genres and remained a vigilant practitioner of DIY ethics, the path of authenticity requiring me to put my hands on any given aspect of the project every step of the way, from mixing albums, to booking three-month tours, to cutting CD artwork on a paper cutter in rest stop bathrooms. I felt the passion and understood the path to authenticity as being one of the “shortest signal chain”. That passion continues, as I understand the finality of permanence- the unwillingness to compromise the slightest detail in achieving the unwavering vision.
This carried over to my love, curiosity and immersion into all thing’s audio related. In 2010, I decided that I wanted to be an audio-mastering engineer and proceeded to study and practice the art and science, mapping out how I wanted to curate the business. In addition to many years of independent study and practice, I have also studied with notable mastering engineers such as; Jonathan Wyner (Miles Davis, Pink Floyd, Nirvana) and Marc-Dieter Einstmann (Notorious B.I.G., Depeche Mode, The Neptunes), as well as attended Berklee College of Music, where I not only completed their audio mastering curriculum, but also completed curriculum in the cognitive sciences with notable professor and producer, Susan Rogers (Prince). I am a current member of the Audio Engineering Society & continue to hone my craft and stay current on all things audio.
In putting Moom Mastering together, my hope was to not only to work on a variety of music and help maximize its potential; I also wanted to tailor the business as a resource for DIY musicians and help them navigate the often complicated and challenging task of finalizing their project. I looked at other reputable mastering businesses and often saw the educational aspect of the process lacking. I wanted to alleviate some of the hassles of unnecessary back and forth and possible delays to your project. Hopefully I have achieved that with Moom Mastering.
We currently use Lynx Hilo 2, Cranesong Hedd and SPL Phonitor 3 conversion.
We always use a dedicated dithering logarithm and typically use Izotope or Goodhertz.
Yes & No. Read carefully… Yes, if you mixed into a limiter on your mix bus. In this scenario, that is part of your sound. Removing it may cause your mix to fall apart. No, if you put a limiter on your mix bus “after the fact” just to make your mix sound louder or more professional. In this case it is recommended that you remove it prior to uploading your files for mastering.
My personal recommendation is that if you are going to place a limiter on your mix bus and mix into it, place a “character” limiter on your mix bus and set the ceiling at -3dB. Adjust clipping to taste. Then, set a “clean” limiter after that, with a gain set at +3dB and a ceiling of -.3dB. Then preview the loudest part of your track and make sure you are not getting any greater than -3dB of clipping. The “clean” limiter is for preview purposes only and will give you a better idea of what your mastered track may sound like in terms of loudness. If it’s too harsh, compressed or you are losing transient information, adjust your “character” limiter’s settings. REMOVE the final “clean” clipper prior to bouncing your tracks. This process should allow you to bounce your masters at -3dB, while having previewed the track at a “mastered” volume. This is a recommendation, NOT a rule. We recommend uploading your tracks on our upload page with at least -3dB of headroom.
If you are unfamiliar with limiting and/or are new to mixing or recording, don’t worry about it. Leave it to us. Keep improving your skills and contact us with any questions.
Yes and No. You choose the running order of your project and we execute the running order and spacing of your songs. For clients who are more particular about the timing in relation to their song spacing, we will adhere to your requirements and request from you a cue sheet and gapless reference of your album, when submitting your files, so that we may reconstruct your vision. It is imperative that if you are considering pressing vinyl, that you know the limitations of vinyl and understand how to properly choose a sequence to accommodate its limitations. To read more about this, read our Sequencing for Vinyl PDF. You can also view our Resources page and learn more about the vinyl preparation and manufacturing process.
No. Do not sample rate convert your files. This is highly NOT recommended.
Lorem ipsum dolor sit amet, consectetur adipiscing elit. Ut elit tellus, luctus nec ullamcorper mattis, pulvinar dapibus leo.
Audio mastering is the final step in music production, where the finished mix(s) are checked for errors, consistency and optimized for different playback formats. This is also the point in time when noise removal, fade ins/outs and sequencing are performed, meta data is entered and multiple file types are created for delivery.
A mastering engineer communicates with clients, listens objectively, removes unwanted noise, makes tonal/level adjustments and prepares the final files, often including sequencing, fades, metadata, and format delivery. We communicate with our clients to understand their vision and needs and tailor your experience to provide a seamless experience by avoiding common pitfalls and finalizing your vision, be it transparent or colored master.
Mixing balances the individual tracks inside a song, while mastering involves working on the completed stereo mix, performing quality control, executing fades and sequencing, as well as optimizing sonics for various platforms, formats and versions.
Yes. Part of the appeal in mastering as a profession is in getting to work on many different types of music. It isn’t necessarily important that the engineer even likes the music. The focus is on the sonics, translation and helping the artist achieve the best possible sonic aesthetic for the project. Having had been alive for many different pivotal years in music, there was a certain aura and taste to each of those eras. Having experienced it firsthand allows one to help bring authenticity to a project that may be attempting to recapture the magic of a certain time-period or help to combine elements of various eras to achieve something new entirely.
Mastering is not always required, but it is a standard final step that helps your music translate better across speakers, headphones, and streaming platforms. It is generally thought to be the best practice in having a new set of trained ears QC your project. Artists and mix engineers can lose objectivity on a project over time. A mastering engineer adds objectivity to your project and we generally take a clinical approach to our craft. We often catch overlooked errors and communicating any issues can not only ensure that your project is optimized; it also allows you to make any corrections needed to assure that your future projects do not implement similar errors.
Mastering can improve a mix, but it cannot fully repair major problems like poor vocal balance, distortion, or badly edited audio. Best practices include addressing any problems with the mixer and consulting your mastering engineer with questions. A major part of the mastering process is communicating with your engineer. We are happy to give our clients’ mixes a listen and offer suggestions if needed.
It depends. It certainly can, though it depends on whether you want to change the character or not. Some clients are adamant that they want a transparent master, while others expect that added character. We do our best to determine what your goals are and deliver accordingly. We have the tools to provide transparent or colored masters. Be specific about your vision and expectations and we will accommodate you.
You can often aim for a similar polish, loudness, and tonal balance, though each song and mix has its own limits. For albums, it is also important to consider the whole and not just the parts. It is best to include a list of any reference songs or albums when filling out our upload form. Be specific as to what you like about your references and your vision for your own music.
Yes. Fades and spacing are standard practice in mastering and we take great pride in adjusting them so that your album is aesthetically pleasing. In the event that the artist has already implemented creative fades on the mix, we will take care not to affect those fades unless necessary in order to eliminate possible pops and clicks. In those cases, we would communicate our intent to the client prior to executing said fades.
If you have already added fades and/or spacing on your own and have strict guidelines that you would like us to adhere to, please include a gapless file so that we may recreate your fades and spacing. If you have a cue sheet with your fades and spacing, please upload that document when uploading your audio files.
You will have the option at checkout, to choose whether or not you’d like us to do fades and spaces. There is no charge for this service.
Yes, mastering can increase perceived loudness while trying to preserve clarity, transients and impact.
No master sounds identical on every system, but good mastering improves translation across speakers, headphones, and cars.
It depends. We allow for a moderate amount of noise editing. Minor issues may be improved, but mastering is not a full repair service for damaged audio. Extreme cases fall into more of the archiving/restoration side of audio. That said, we do offer services for restoration of digital files. See our Services page or contact us and inform us of your situation.
If you have analog tape or DAT files in need of restoration, have a look at our Resources page for possible services that may be able to better help you. In general, if your files are found to be excessively problematic (noisy, clipped, distorted, sibilant, etc.) we will most likely refuse your files and offer suggestions and/or quote you a fair rate on the additional work needed to correct those errors. As we attempt to keep our rates at a reasonable amount, problematic files can add substantial time to your project and that is not economically sustainable on our end, so we must charge extra for files with excessive issues.
Not every music player will display album art, even when files are correctly tagged. This is common with older or simpler MP3 players, car stereos, and some budget devices. Reasons include:
Firmware limitations: Some players simply don’t support displaying embedded artwork, regardless of how the files are tagged.
Tag version compatibility: Many devices only read ID3v2.3 tags on MP3s. Files tagged with ID3v2.4 or other formats may show text but not art.
Image format issues: Some players require baseline JPEG artwork (not progressive JPEG, PNG, or WebP) at modest resolutions.
File format support: A few players ignore tags in certain formats (e.g., WAV) or rely on folder images instead of embedded art.
Even with perfect metadata, a small percentage of devices will still fall back to showing only text (title/artist) or generic icons.
Best practice: Deliver files with embedded album art and complete metadata (ID3v2.3 for MP3, baseline JPEG images). This maximizes compatibility across phones, computers, and most modern players, but cannot guarantee display on every device.
For music to appear in Spotify, Apple Music, Amazon Music, YouTube Music, Deezer, Tidal, and similar services—and to be discoverable by smart speakers, car systems, and DJ software—it must be registered and delivered through a digital distributor (also called an aggregator). Examples include DistroKid, TuneCore, CD Baby, AWAL, UnitedMasters, and others.
Key points:
No direct upload (for most artists): Music is typically not registered directly with each streaming service. Instead, a distributor sends audio, artwork, and metadata to all major platforms under one submission.
Metadata is critical: Accurate fields (artist name, track title, album title, ISRCs, label, genre, primary artist, etc.) are used by platforms to classify music and power recommendations and search.
ISRCs and UPC/EAN: Each track should have a unique ISRC, and each release a UPC/EAN. These codes are how stores and databases uniquely identify music. Distributors can provide these if they are not already available.
Content ID / fingerprinting: For YouTube and some other services, distributors often enroll tracks in Content ID or similar fingerprint systems so music is recognized when used in videos or broadcasts. Check what is included with your distributor.
Discovery features: Once live, discoverability can be further improved via:
Spotify for Artists (pitch to editorial playlists, enable Discovery Mode where available)
Apple Music for Artists
Consistent metadata and artwork across all platforms
Best practice: Work with a reputable distributor, ensure metadata and artwork are consistent and complete, and register with the artist dashboards (Spotify for Artists, Apple Music for Artists) once the first release is live. This is how music becomes searchable, recommendable, and visible across streaming services and connected players.
It’s best to upload your album art as a 1500×1500 px baseline JPEG around 500 KB. We will include this in your metadata. Be sure to include this file with your audio, text and any reference files you may have to upload on our Upload page.
Apple Digital Masters (ADM) is Apple’s quality-certification program for masters uploaded to Apple Music/iTunes. It’s essentially an updated version of “Mastered for iTunes,” with a focus on preserving fidelity when Apple encodes your master to AAC (and ALAC for lossless).
ADM is not a special file format or a different master you send to distributors.
It’s a set of technical guidelines and best practices that, when followed, allow Apple to label your release as an “Apple Digital Master” in Apple Music. Apple uses your 24‑bit lossless master directly for encoding; they do not first convert to 16‑bit/44.1 kHz and then to AAC. This reduces artifacts like pre‑echo, aliasing, and inter‑sample clipping.
If we master to Apple’s ADM guidelines, your music will retain more of the original dynamics and detail when encoded for Apple Music, and it will be tagged as an Apple Digital Master.”
These are the practical specs for delivery:
File format:
24‑bit WAV or AIFF (no MP3/AAC as source).
Bit depth:
24-bit (required).
Sample rate:
Original/native sample rate of the mix (e.g., 44.1, 48, 88.2, 96 kHz).
No upsampling just to hit 96 kHz; if the session is 24/44.1, deliver 24/44.1.
Apple’s encoder will resample as needed, but they prefer a high‑resolution file.
Headroom / peak level:
Avoid any clipping (regular or inter‑sample).
Apple recommends leaving about 1 dB of headroom, e.g., limiter ceiling at –1.0 dBTP (True Peak, with ISP enabled).
Dynamic range / loudness:
No specific LUFS target is mandated, but keep in mind Apple uses loudness normalization (Sound Check). Over‑limiting to be “as loud as possible” can backfire.
Signal chain integrity:
Final master must come directly from DAW/mastering session as a lossless print.
No intermediate lossy steps (no MP3/AAC bounces, no YouTube rips, no “bounce to MP3 then back to WAV”).
In short: 24‑bit WAV/AIFF, native sample rate, no clipping, ~–1 dBTP ceiling, clean lossless lineage.
Better sounding streams/downloads on Apple Music
Apple encodes from your 24‑bit master with more resolution and headroom, reducing distortion and preserving transients.
Disc Description Protocol images (DDPi) are electronic versions of master discs that are accepted by many replication plants around the world. They are 100% true representations of your masters with all music, PQ coding, fades/transitions, and ISRCs/UPC data intact. DDPi can be sent to a plant via FTP. Your DDPi files are contained within a single folder.
***It is extremely important that you do not alter this folder or its files in any way.*** The file will cease to work. We will have to charge you to redo your DDPi files***
Supply the folder to your CD duplicator.
For clients who wish to review their DDPi, we supply a HOFA DDPi player with your deliverables.
Final masters/deliverables are delivered as downloadable digital files via emailed link in the following formats:
2496 Hi-Resolution files (digital and streaming releases)
2448 for Streaming
2448 Vinyl Optimized Master
1644 DDPi files for CD release
1644 for Cassette
MP3-328
AIFF
ADM (Apple Digital Master)
You will receive an email with a link to retrieve your files, along with clear instructions for what each folder/file is intended for and any other documentation that you or your chosen duplication plant may need. We supply clearly labeled cue sheets for your cassette and vinyl duplication as well.
***It is highly recommended that you do not alter the folders or files.***
***Your masters are your responsibility once you’ve received them.***
Also, be sure to use the “3-2-1 rule” in backing up your files. Make multiple backup copies and keep them in different places when archiving your masters. Although, we do take steps to properly archive our work, we cannot be held responsible for archiving your masters or providing them to you in a future scenario.
If you require a different file sample rate than what is noted above, please contact us with that request and we will provide the requested file specifications at no additional charge. ***Do not alter the sample rates yourself.***
We understand that file types can be confusing and overwhelming for some. As always, let us know if you have any questions, though you can view/save/print our PDF on Deliverable here.
You will receive a 2448 file as a proof for approval, via link in an email. This link will be to an audio player from a company we use called Samply. There is no need to have an account with them or to sign in and the link is shareable to anyone you send it to. If a revision is requested, you may use the same link, as the original and revised file(s) will be accessible to you. The link will be deactivated once you have approved the proof(s).
The Samply player offers a way to preview your audio with gapless, high-quality playback. It is similar to a DDP player, though a bit cleaner in presentation. It should go without saying, do not share the link with anyone you don’t want to hear or possibly leak your audio.
If using our “free sample” service, the same applies however, you will have the option to pay for the file on the player via Samply’s secure checkout. This will then allow you to instantly download your deliverables.
We highly recommend that you proof your material in multiple, familiar environments if possible and have realistic expectations as to the format you are proofing on. For example, do not judge the low content of your material while listening to a cell phone and then ask for a revision with more bass. The same may apply to proofing your content on a stereo in a small room or with small speakers. Also, understand that there are signal degradations based on Bluetooth and/or wireless technologies. It is best to be conscientious as to the limitations of your environment.
Another note on proofing vinyl test pressings. It should go without saying, though be sure to listen to them with a quality turntable and on a quality stereo system.
We currently only accept digital audio files via our upload form. Most importantly, send your files in the original sample rate and bit depth that you bounced the mix at. Do not resample your files. Send your interleaved stereo files. We will accept WAV, AIFF, 16,24 or 32-bit,44.1kHz,48kHz,88.2kHz & 96kHz or higher sample rates. 24-bit or higher is preferred for optimal results. Ideally, your files will be 24-bit 48kHz or higher interleaved stereo.
***Again, do not resample your project. Keep it at the original sample rate.***
No. They are not sufficient for audio mastering. Our upload form will not accept MP3 uploads. We will only accept MP3’s, on the rare occasion where the only archival file is an MP3 file. We ask that you contact us first if that is the case. We would review the file(s) prior to agreeing to take on the work and respond with an analysis prior to doing any mastering. Otherwise, MP3’s and other lossy formats are not acceptable or uploadable on our upload page.
Best practice is to submit properly labeled files and when applicable, properly labeled folders. We recommend using the AES labeling standard.
Label your folders: (Artist_Project_Extra_Versions) (Artist_Project_Full_Length) (Artist_Project_Metadata), etc.
Label your files sequentially as to how they are to appear on the release:
01_Track Name, 02_Track Name, etc.
If you intend to release vinyl or cassette, it is helpful to label your files: 01A_Track Name, 01B_Track Name, etc. If you do not label them this way, be sure to clarify the full sequential order for vinyl & cassette formats. Also consider whether you intend for you sides to be labeled alphabetically or numerically and if you have multiple sides, how you intend for those multiples to be labeled as well.
At a minimum, triple check your spelling and capitalization. Also, if you have any odd or foreign symbols or punctuation, best practice is to notify us of this in the submission comments. If we are unaware of what it is, we are unable to reproduce it.
Be aware that not all computers, playback systems, etc., recognize or are able to duplicate some symbols. We may have to take extra measures to accommodate your situation. Again, plan ahead and be specific.
No. We request that you do not normalize your files. Send your files with at least -3dB of headroom.
Name your tracks in sequence (01_Track Name, 02_Track Name, etc.) Assure that your tracks have at least -3dB headroom. Assure that your tracks are 24-bit, 44.1kHz, 48 kHZ, 88.2kHz, 96kHz or greater. Assure that your tracks are free from excessive noise (pops, clicks, clipping, sibilance). Assure that your tracks are not overly limited or unintentionally distorted. Assure that you have any metadata to send to us at the time you upload your files.
Download/read/print our <checklist for uploading your files here>. Although our upload page will guide you through the intake process, if you are unfamiliar with the process or unprepared, you may be required to enter information you simply do not have or were unaware of. It is ideal to adhere to best practices, so that mistakes and delays will be avoided and your music will sound its best.
Do not upload tracks with excessive pops, clicks, distortion or sibilance. They will likely be refused, and we will contact you with an option for you to pay an additional cost for the additional work.
Yes, reference tracks can help communicate the sound, loudness, vibe and aesthetic you want for your master. Make sure to include what you like about the references you submit. Be specific and think sonically. Do you like the width, bass, high-end, air, tightness, looseness, tightness, loudness, separation, grit, warmth, clarity, depth, separation, etc.? Make sure you label your reference track. If you are unable to upload them, then list them at the intake process. Be sure to include the artist, name of the song and what you like about the reference in relation to your music.
Send your stereo mix. We believe that stem mastering is mixing. On certain projects, we may need to implement the use of stems, though generally, we do not accept stems unless necessary.
For a detailed list of what to expect while working with us during the mastering process, we encourage you to read our “The Process” PDF. You can also access the document on our Resources page. For a summary of that page, read on.
We’ve tailored our process to help you avoid common pitfalls which may delay your project. Our intake form is on our Upload page and must be completed prior to uploading your files. It is rather detailed and may take some time to fill out. If you are serious about your audio, want to communicate your vision effectively and avoid common pitfalls, it is worth your time to take the time.
The form is designed to get as much information up front, to avoid any unnecessary emails or phone calls. Often, some of the information required during the mastering process, triggers a “what is that?” moment. Consider it a learning process. Anything you may not have been previously aware of can usually be explained within this webpage. Our detailed FAQ’s & Resources pages are meant to educate you or illicit additional questions. The intake form will guide you along and certain portions of the form must be filled out, or you will not be able to continue.
Once you’ve filled out the form, you will then upload your songs. When complete, you will see a confirmation message on the screen and receive a confirmation email. We will then review your files (usually within two business days) for any errors (sonics, spelling, etc.) We will then send you a second email notifying you if your files were accepted or refused.
If we refuse the file(s), we will communicate what needs to be done on your end to fix the issue. Common issues are files with unintentional excessive noise, distortion, files completely lacking dynamics, errors in spelling and mislabeling file names.
If accepted, we will email you an estimated time of completion. When complete, another email following that will include your “proofs” for you to review. You will then have the option to approve them or communicate with us that further revisions are needed in order to fulfill your vision.
When we approve your submitted files, we send an email with an estimated time of completion. Completion time is highly dependent upon client response time to communication and the revision process.
Turnaround fluctuates according to demand and how timely we receive communications from clients. We generally review submissions within (2) business days and require (1) additional business day to complete singles and (2-4) additional workdays for E.P.’s and full albums. Be sure to communicate your deadlines at the intake process or email us with any questions.
Our business days are Monday-Friday.
We’ve attempted to provide a simple and transparent pricing model, by including services that other mastering houses understandably may charge extra for.
We do charge extra for a few services such as, extra versions, cassette or vinyl optimization and songs which are longer in length, have excessive noise or errors caused by the client
We require full payment up front, after you submit your files. We offer multiple ways to pay (Paypal, Stripe, Affirm & Credit Card) on our secure site.
This allows us to serve our clients better and keep prices down, by optimizing our time for providing services as opposed to the additional time needed to procure payments after the fact. Consider that we are a one-person operation, have a fast turnaround time, generous revision policy and fairly competitive rates.
We accept payments from: Stripe, Paypal, Credit Card, Affirm and SEPA. Alternate forms of payment are accepted as well. If you would prefer to use cash, check or cashier’s check, contact us and we will see about meeting up if possible. We would prefer to not accept files through the mail, as this involves us if your files are lost or damaged by the shipper. If this is your preferred method, get in touch and we will figure something out.
We offer up to (3) revisions and a full refund if you aren’t happy after (3) revisions. Generally, most projects are approved on the first go around. Some require (1) revision and fewer require (2). Fewer projects still require (3), though we believe that more than (3) indicates a problem in the working relationship and the client would be better served working with another engineer.
This said, we do offer an option if you would like another round of revisions as opposed to a refund. You may request another round at the rate of $100 per song and per revision.
Communication is key. Understand your sonic aesthetics and goals and communicate them with your engineer. Have an awareness of the sonic shortcomings of the room and system in which you are reviewing your proofs. Also, have realistic expectations in accordance with your submitted material. Mastering is meant to enhance not transform
We allow a hassle free, %100 percent refund if you 1). Do not approve your files within the first (3) revisions and request a refund, or 2). We do not accept your uploaded files, provide you with information on the needed corrections and you do not agree with our suggestions or cannot provide files with the needed corrections. 3) If we commit any errors which cause a delay in manufacturing and said errors are proven to be our fault alone and not the fault of the client or manufacturer.
Yes. Moom Mastering takes privacy and confidentiality extremely seriously. All files submitted are heard by only the owner/operator Storm Spacia. All projects are kept confidential and not discussed with third parties, unless the client has specified that we are to communicate with a third party, such as a producer, mixer or pressing/replication plant. The client has the option to give us these permissions and indicate who these permissions apply to on the upload form and prior to checkout.
As a courtesy to the client, by default we store your submitted and finished audio files on our in-house external hard drives, for future recallability purposes, in the event you may request them. On our submission form, we offer the option for you to 1). Have us remove your files from our hard drives upon delivery of your masters and 2). Opt out of having your files on any cloud servers we may use, as off-site back up storage.
If you have any security concerns regarding our website, payment process or storage platforms, contact us with your concerns and we will address them in order to accommodate you. If you have any other questions or concerns as to equipment, processes or 3rd party services that we use, let us know.
By default, we will not mention or promote your project on social media or our website prior to or after your release date, unless explicitly approved by you, the client. Prior to uploading your files, you will have the option to opt in and allow us to share any of your materials that you’d like us to share on our social media platforms or website. If you chose to decide at a later time, you may save/print/fill out and return the form to us prior to your release.
If you would like us to mention your project, please contact us with your release date, a photo of your album art and or any other materials you deem sufficient. We will do our best to repost this information, but do not guarantee that we will be able to post this information.
Yes. You will be provided with the proper deliverables to submit to all of the streaming platforms. To be clear, it is not common practice to provide a different master for each individual streaming platform. One master will be supplied, which will be sufficient for all of the various streaming platforms.
If an additional master is desired for further optimization for a specific streaming platform, please select that option under “additional versions” at checkout, as this is a rare request and will incur a small, additional cost. Also, be aware that some streaming platforms accept high-resolution files for use. We will provide those files as well, so that you may submit them if needed.
No. Streaming platforms publish loudness targets (Spotify’s −14 LUFS, for example) as a reference point for their own internal playback normalization, not as a requirement you need to meet before uploading. Your distributor will not reject your music for being above or below these numbers, and listeners will never see them.
What these targets actually mean is that the platform will automatically adjust the playback volume of your track to match a consistent listening level across their catalog. If your master comes in louder than the target, it gets turned down. If it comes in quieter, it’s generally left alone or nudged up slightly. Either way, the platform is doing the adjusting — not you.
This is exactly why trying to hit a specific LUFS value yourself, before mastering, tends to cause more problems than it solves. Inexperienced attempts to reach a loudness target often result in over-compression and a lifeless, dynamically flat master that no normalization system can fix after the fact. A great master isn’t defined by a number — it’s defined by how good it sounds. Your mastering engineer will bring your music to a level that is competitive, genre-appropriate, and optimized for streaming, without sacrificing the punch, clarity, and dimension that make it worth listening to in the first place.
To some degree, yes. Understanding the mechanics makes this a lot easier to navigate.
Streaming platforms use two forms of normalization: downward and upward. Downward normalization is what happens when your master exceeds the platform’s loudness target — the algorithm turns it down. This is generally the more benign of the two. Reducing gain is a straightforward process, and a well-mastered track handled this way typically survives with minimal sonic artifacts.
Upward normalization is a different story. This is what happens when your master comes in significantly quieter than the platform’s target and the algorithm boosts it to compensate. Boosting gain amplifies everything in the signal — including noise, subtle artifacts, and any irregularities in the mix that were previously sitting below the threshold of obvious. The result can be a master that sounds thinner, noisier, or less controlled than intended. Not every platform applies upward normalization aggressively, but it’s a real consideration, and it’s one reason why delivering a master that’s reasonably competitive in loudness without being over-compressed is genuinely important.
The tracks that fare worst under either form of normalization are those already compromised before the algorithm touches them: over-limited masters with clipped transients, poorly managed low end, or dynamics that have been squeezed out entirely in a misguided chase for loudness. A professional master is built with all of this in mind — loud enough to avoid problematic upward normalization, clean and dynamic enough to withstand being turned down, and crafted to sound as close as possible to its intended self no matter which platform it lands on.
Yes. Cassette masters are delivered via a 1644 file per side, unless requested otherwise. As with vinyl, cassette masters are accompanied by a clearly marked cue sheet for the duplication plant.
We provide an additional service for an optimized cassette master. This will provide you with a master which receives less dynamic processing and any necessary additional EQ processing that may benefit your project. If you are on a tight budget, the standard cassette master should suffice, though for those who would like a separate optimized master, you have that option as well for +$10 per song.
Yes. CD-ready masters are delivered in standard formats suitable for disc manufacturing. We deliver a DDPi file which you will deliver to your manufacturer. Additionally, we send you a HOFA DDPi player with your deliverables in the event that you’d like to preview your master DDPi file.
Yes. Technically speaking, the proper terminology is considered “Vinyl Pre-mastering” being that your vinyl cutting engineer is applying the final process. While the vinyl cutting engineer is detrimental to the process, they typically do not do any unnecessary processing to the pre-master.
We take special care to provide a separate, optimized master for vinyl, along with a clearly labeled cue sheet for the cutting engineer. The vinyl cutter is also essential in assuring that your music is transferred properly. When doing the pre-master, generally we use less compression and no limiting is applied. If previewing your vinyl pre-master, you will notice that it is considerably lower in volume than your other masters. This is normal.
In addition, we employ technology that will help calculate the best variables in optimizing your audio for vinyl, assuring that the cutting engineer is less likely to stray from your approved pre-master. This process includes mathematical computations which allow the music to be strategically stretched across a vinyl record, resulting in optimum sonics. This results in your vinyl being pressed closer to your sonic vision. With many variables at play during the manufacturing process, it is paramount to get your pre-master as close to your vision as possible.
It is important in understanding the manufacturing process and limitations of vinyl in order to have realistic expectations as to the final product. This will help you in being proactive during the process and ultimately being happy with the end result.
See the Manufacturing section of our Resources page for a list on manufacturers. The manufacturer you choose has a direct impact on your sound quality, timeline, and sanity. Consider the following:
Should I use one manufacturer for all three formats?
If you can, yes. Finding a manufacturer that handles vinyl, cassette, and CD under one roof (or within one close relationship) keeps your artwork files, production timelines, and communication in one place. You’re dealing with one set of specs, one point of contact, and one shipment schedule instead of three. When something needs fixing, it gets fixed faster.
Manufacturers who see your whole project tend to treat you like a real client rather than a one-off order. This said, choose your priorities carefully and seriously consider the information that follows in regard to vinyl. Vinyl manufacturing is an extremely complicated process with a considerable amount of variables which can go wrong and delay your project or cost you a large amount of money. Consider splitting manufacturers if it allows you to work with a reputable manufacturer closer to your region.
Does it matter where the manufacturer is located?
Absolutely. Vinyl and CDs are heavy — shipping costs across oceans can quickly erase any savings on the unit price, and that’s before factoring in customs fees, import duties, and the unpredictability of international freight. Beyond cost, proximity means faster resolution if something goes wrong.
A regional manufacturer can get replacement copies to you quickly, communicate during your business hours, and receive a defective sample without a two-week roundtrip. Whenever possible, find the best manufacturer within your region and build that relationship rather than constantly chasing the cheapest global option.
What do shipping conditions do to vinyl and lacquers?
More damage than most people expect — and a lot of it happens silently, before you ever open the box.
Lacquers are the most vulnerable part of the entire production chain. These are the delicate acetate discs cut at the lathe, and they are not built to travel. They scratch easily, they’re sensitive to humidity, and they are extremely susceptible to temperature. A lacquer that gets too warm during transit can warp or soften, subtly altering the groove geometry that was so carefully cut. A lacquer that experiences rapid temperature swings — say, sitting in a hot delivery truck and then a cold warehouse — can develop stress that shows up as noise in the pressing. Lacquers should move from cutting room to plating facility as quickly as possible. Every unnecessary day in transit is a risk.
Pressed vinyl is more resilient, but it’s far from indestructible in transit. Heat is the primary enemy. Vinyl begins to soften at temperatures that are surprisingly easy to reach inside a delivery truck or shipping container in summer — particularly in warmer climates or during peak heat months. Warped records are the obvious result, but even subtle thermal stress during shipping can affect how cleanly a record plays. If your order ships in July and sits in a container or a warehouse loading dock for any stretch of time, that’s a real concern.
This is another reason why regional manufacturing matters so much. Shorter transit distances mean less elapsed time in uncontrolled environments, fewer handoffs between carriers, and less exposure to seasonal temperature extremes. A pressing plant two states away is a fundamentally different logistical situation than one on another continent. When you’re planning a release, think about the time of year your finished product will be in transit — and factor that into your conversations with the manufacturer about packaging, shipping method, and timing. A good plant will have opinions about this. If they don’t, that tells you something to.
What should I know specifically about vinyl manufacturing?
Vinyl is analog and every step in the production chain — cutting, plating, pressing — has a real, audible effect on the final record. Here’s what to ask about:
Who is the cutting engineer? This is non-negotiable. The lacquer cut is where your master audio becomes a physical groove, and it’s a craft that requires trained ears and genuine skill. A reputable plant will give you a name. Look up their credits, listen to records they’ve cut, and make sure their sensibility matches your project. If a plant can’t or won’t tell you who is cutting your lacquers, that’s a red flag.
Do they plate in-house? After the lacquer is cut, it goes through electroplating to create the metal stampers used for pressing. Some plants send this step out to a third party — which means your lacquers leave the building, accountability gets fragmented, and if something goes wrong at that stage, you may not find out until it’s already set back your whole timeline. A plant that handles plating in-house owns the process end to end. That matters.
What’s the vinyl compound and QC process? Not all vinyl is the same. Ask about compound quality, press type, and how they check pressings before they’re packaged. A plant that answers these questions clearly and confidently is one that takes pride in their work.
Should I use a broker?
No. A broker takes your order, marks it up, and places it with a plant you’ll likely never know the name of. You lose transparency into who is cutting your lacquers, plating your stampers, and pressing your records. You lose direct communication with the people doing the work. And you lose the relationship — the plant’s loyalty is to the broker, not to you. The convenience isn’t worth it. Go direct, know who you’re working with, and keep the relationship yours.
You can request alternate versions such as clean, instrumental, radio, broadcast or performance-ready masters. These are considered alternate versions and require an additional charge.
Please make your choices on the Upload page when filling out the form. ***Note that alternate versions must be the exact same file as the original file supplied or the version will incur the standard mastering rate.
For example, you request an instrumental master. You must supply the exact identical file minus the vocal. Note that for clean versions, we request that you supply the proper edited material.
Yes. In this instance, we request that you check the appropriate box on our Upload form and indicate which songs need which type of additional version. This will be considered an “alternate version” and will incur a small additional cost.
Yes. See the detailed list of types of meta data below or download/print our “Metadata Checklist” PDF. You will be required to enter some metadata and not required to enter other metadata when uploading your files on our upload page. The Upload page will guide you through the process. For a more detailed explanation as to the importance of metadata, see the Metadata section on our Resources page.
Do you want to get paid, credited properly, avoid theft of your art, be accessible for possible collaborations or inclusion in movies or advertising? Best practices suggest you provide as much metadata as possible, so that it may be entered during the mastering process. If you decide that you need metadata entered after receiving your files, an additional fee will have to be charged, as everything will need to be redone for each format.
In a mastering context, the most important metadata variables are the ones that make sure the right people get credited, paid, and deliver the correct audio version. For clients, metadata is not just paperwork; it affects release credit, royalty registration, catalog tracking, and whether the final master can be identified correctly in distribution systems.
Also of note, imagine your music reaching the ears of a director or agency and they want to include your song in their project. A professional agency will check your metadata for various attributes and may determine whether they want to work with you based on your accessibility or other factors. It is unlikely that they will take the time to find out who to reach out to. They will most likely reach out to the next artist that has made it easier for them to do so.
It is of utmost importance to triple check all your information, spelling and capitalizations of all metadata and song titles before submitting your files for upload. If you have any intentional misspellings or questionable entries, please note those in the comments when submitting. This will prevent any unneeded delays by limiting unneeded back and forth communication.
Furthermore, if you require us to correct any errors which you were at fault for, after you have approved your proofs, we will unfortunately need to bill you again at the standard rate.
Yes and No. We enter the metadata that you provide us. You must submit the correct information needed for us to enter the metadata for your files. Download/view/print our Metadata Checklist PDF. Please enter as much metadata as you deem necessary when uploading your files. We will not begin working on your project until we have the required metadata unless you have explicity chosen the “Decline to submit metadata” option at checkout.
Yes and No. In short, you need ISRC codes if you are going to release your music commercially. If you are not going to release it or if it’s a demo, you do not need one. You can read more about how to get an ISRC code on our Resources page or our document titled, “What Is an ISRC and Do You Need One? A Plain-Language Guide for Artists and Labels”.
Some streaming services provide the code for you, though; being that streaming services are always changing and the various services don’t exactly exist in harmony, it may be best to acquire your own ISRC code, have us embed it in the file metadata and this may ensure uniformity amongst all platforms. Use extreme caution in letting streaming services or other third parties assign you your ISRC or UPC codes. Weigh the convenience against the possibility of surrendering ownership or rights. Do due diligence in this regard.
An ISRC (International Standard Recording Code) is a unique 12‑character alphanumeric code assigned to each individual sound recording (and music‑video recording) so it can be tracked globally in sales, streams, and royalties. It looks like this: US‑ABC‑22‑00001, where the segments identify country, registrant, year, and a unique serial number for that track.
Why an ISRC matters
Yes and No. In short, if you are planning on having your music released commercially you should have a UPC (if in America) or EAN (if you’re in Europe). If not, don’t worry about it. You can read more about UPC codes on our Resources page. As with ISRC codes, we urge you to do due diligence in acquiring your codes. Weigh the possibility of convenience vs. full ownership of your project. Read more about cautions to consider in our “Getting Your ISRC and UPC: What You Need to Know” PDF.
A UPC (Universal Product Code) is a 12‑digit barcode that uniquely identifies a music release (single, EP, or album) as a product, while an EAN (European Article Number) is just the 13‑digit international version of the same concept; in practice they do the same job and are often used interchangeably. Think of it like this:
A client can get a UPC/EAN code in three main ways, depending on how serious and organized their release is.
1. From their distributor (most common)
2. By buying from GS1 (full control)
GRid stands for Global Release Identifier and helps label a specific release, such as an album or single package. That makes it easier for distributors and metadata systems to track the release consistently across platforms.
How they differ from ISRC
ISRC codes work at the track level, so each song gets its own code. GRid codes work at the release level, so the whole album or single release gets one identifier.
If you’re delivering mastered audio to a label or distributor, these codes may be embedded or submitted as part of the metadata. They matter for cataloging, reporting, and royalty tracking, but they are not part of the sonic mastering chain itself.
You usually get GRid codes from the same place handling your release metadata: your label, distributor, or a metadata/code service. GRid is a release-level identifier, and IFPI says using the standard requires a unique issuer code that you apply for through their GRid site.
Where they come from
The GRId application form is at: https://grid.ifpi.org/grid.asp.
You can also learn more by going to the IFPI website at: https://www.ifpi.org/resource/grid/
Please see our Services page for a complete list of services & rates.
Not currently. We may in the future, but for now all sessions are unattended.
We offer a “free sample” as a “no strings” means of introducing ourselves, getting to know new clients and assure that we are a good fit for one another. We believe in long-term relationships and offering a communal platform on our site for artists. The “free sample” is a way for new clients to upload a single, by using a quicker upload process than our standard form. You will be able to communicate with us, have your song mastered with no obligations and determine if it’s a good fit for your vision.
You will have a chance to preview your mastered song, via a shareable link sent by email. If you’d like to purchase the master for download, you will have that option through the same link as well, as there will be a secure payment checkout.
Purchasing the master will give you access to multiple deliverables including: hi-res master, streaming master, Apple Digital Master, MP3-320 and AAC/M4A.
If you like the master but feel like it just needs a little more of this or that, or you want to take it in a different direction, that would be considered a revision and we ask that you go to our Upload page, choose the “Revise my Free Sample” option and we will begin the standard process of working together, where multiple revisions are covered under our standard rates. See our Services page for more information.
Not at this time. This technology is fairly new and would require some substantially cost-prohibitive changes to our monitoring system and room modifications. While some are claiming that this technology can be adequately mixed and mastered on headphones, time is needed to determine whether we will be able to accommodate clients in this regard. We will certainly continue to keep educated on the matter and perhaps make the necessary adjustments in the future so that we may offer this service, if the demand increases.
Yes. See our Services page and contact us with any questions and tell us more about your podcast. For reoccurring service, we offer a discount; for a monthly podcast, your final (12th) podcast of the year is free. For a weekly podcast, your final (4) podcasts of the year are free. We will issue you a coupon code when you are close to receiving your discount.
Rates can be found by scrolling down on the Services page.
Not at this time. Many other mastering services offer a rush option at an additional cost. At this time, we believe our turnaround time to be sufficient for most clients’ needs. In our eyes, offering this service prioritizes certain clients over others based on a fee and we believe that often when a project needs to be rushed, the process will not yield optimal results. We would like to avoid those situations and maintain a first-come, first-serve model, with preference given when needed to returning clients.
No. We believe that stem mastering is too closely related to mixing. On certain projects, we may need to implement the use of stems, though generally, we do not use stems unless necessary, which usually pertains to archival restoration.
Terms & Conditions
You will be able to view our terms & conditions agreement prior to filling out the intake form. You can also view/download a PDF copy on our Resources page. At checkout, you will have to agree to the terms and conditions agreement in order to proceed.
We keep this as simple as possible to protect both your interests and ours. It basically states that you retain the rights to your masters upon payment and that Moom Mastering has no rights to your masters, whether we are paid or not. We cannot release the client’s master files to anyone except the client, regardless of circumstance. It also covers the previously mentioned items pertaining to your privacy and storage of your files. It also states that we have no liability pertaining to any quality control issues which may arise or come about when the masters are being duplicated, in which we are not at fault. It also implies that the client is ultimately responsible for reviewing, copying and storing their files once they are delivered.
Once you have received your deliverables/files, you are responsible for proofing them and reporting any concerns to us, prior to delivering them to any distribution provider (streaming, duplicating plants, etc.)
Note, there are many factors involved in manufacturing and distribution. These do not necessarily indicate a problem with the master files as you received them. Sometimes, it can be a matter of the client providing the wrong files for the wrong purpose or inadvertently altering a mastered file or folder prior to submission. There are any number of things that can go wrong during other duplication processes as well.
At times, it is common for when things do go wrong, for various parties to point fingers, etc. It is of utmost importance for the client to keep a record of all responsible parties during the process, assuring that there is accountability at each stage of the process. If an error is found and we are at fault, we will of course correct the issue, though beware of potential pitfalls during the duplication process.
Converters-
Lynx Hilo 2
SPL Phonitor 3
Crane Song HEDD
Headphone DAC-
SPL Phonitor 3
Headphones-
Audeze LCD-X
Cables-
Mogami Gold
Power Conditioning-
Black Lion PG-2R Voltage Regulator
File Conversion-
Izotope RX 13
Steinberg Wavelab 13
DAW-
Steinberg Wavelab 13
Steinberg Spectral Layers 13
Izotope Ozone 11
Izotope RX 13
Room Correction-
Sonarworks
Deliverable Services-
Sound Credit
Samply
Dropbox
Proof Service-
Samply
We use digital plugins from-
Kieve
Fab Filter
Goodhertz
Make Believe Studios
New Fangled Audio
Plugin Alliance
Pulsar Modular
Relab Development
Schwabe
Softube
Tokyo Dawn Labratories
Tone Projects
Universal Audio
DDPi Authoring-
Hoffa
Steinberg
Computing-
PC Audio Labs
Web Media Player-
Sonaar
Storage-
OWC
Samsung
Toshiba
Western Digital
We are currently not offering employment or accepting interns and we have no to intension of doing so in the future. If you have any questions pertaining to getting into mastering, feel free to contact us. You may also find our Resources page useful.