How to Master Audio Files for Internet Distribution
by John Townley
November 16, 1999

If a little knowledge is a dangerous thing, this article may imperil or empower you. With a daily-morphing set of solutions to getting your audio onto the Net and easily in the ears of your audience, you may find that a few free downloads, a generous dose of "Help" files, and a good feeling for the medium may get you that yet-to-be-gotten gold ring - the first homemade platinum record marketed exclusively on the Internet, sans greedy record company execs. Or at least, whatever sounds you're trying to put in shape for cyber-shipping will fill the bill, without stealing your savings.

Then again, you may find that a D.I.Y. approach to audio deserves an "ailment"-ry acronym: MISTAKE (Mastering Internet Solutions To Audio Kill Everything). Hopefully, the following set of road signs and traffic warnings will help you steer your way around that.

Be warned, this is not a definitive work on the subject. The Internet audio biz is too complicated and changing too swiftly to cover in a single article. And, when broadband comes in you will joyfully throw out the window most of the critical technical advice of today.

This is a set of fundamental approaches to recording and mastering that will help you make records that will last, and make technical decisions based on what you are trying to accomplish and what your intended audience is. Some of this you may find contrary to what you've read elsewhere and even counter intuitive, but that's because it's geared to making enduring product, despite the severe limitations of the current technology.

Making the recording: Multiple Masters
The fundamental characteristics of your original production is your strongest or weakest link. Spend your money here, or it's garbage in, garbage out. Don't scrimp on recording gear. Pick up a copy of "project studio" magazines like Mix or EQ to find the highest quality affordable mics, recorders, mixers, and plug-ins to make your product top-notch. Sound Forge, ProTools: go for them. That applies to whether you are recording the Boston Pops or a simple voice-over. When you are making your original recording, keep one thing in mind - quality. Assume you are making something for the ages that will be sold in multiple formats years from now when all the current changing digital formats have passed away. Usually, you have two purposes to fulfill: making an end product tailored for immediate sale and delivery and making a product that is adaptable to later (often the most lucrative) sales. That may mean making several different "final" audio mixes before you get to the Net-mastering stage. Leading record producers mixing to the coming standard 5.1 surround sound format, for instance, make a mix for traditional stereo and a mix for 5.1, and each in several digital and analog formats.