How Labels Expect a Master to Be Delivered
Published · by Loopin
Delivering a master to a label involves different, often more specific expectations than a typical self-releasing distributor submission — worth understanding before you're actually in that situation.
Confirm the label's specific technical requirements
Labels vary in their exact specifications — some want a specific loudness target, others leave that decision to you, some have specific file format and bit-depth requirements. Always confirm exactly what a specific label wants rather than assuming general streaming conventions automatically apply.
This is different from a distributor submission, where technical requirements are typically published and standardized — label requirements can be more variable and worth a direct conversation to confirm.
Deliver stems, not just the final master, if requested
Many labels want access to individual stems alongside the final master, for their own mixing engineer's use, remix purposes, or sync licensing opportunities down the line. Confirm whether this is expected and, if so, keep your stems organized and ready to deliver.
This is worth preparing for even before it's explicitly requested, since organizing stems retroactively from a messy session is considerably more work than keeping them organized from the start.
Provide an unmastered version alongside the master
Some labels specifically want the pre-mastered mix in addition to your final master, since they may have their own mastering engineer they prefer to use, or want the option to have it mastered differently for different territories or formats.
Don't assume your own mastering pass is automatically what gets used — confirm this expectation directly rather than being surprised later that a different master gets substituted.
Be prepared for revision requests
A label's A&R or mastering engineer may request specific changes to your delivered master — a different loudness target, a tonal adjustment — and being prepared to revise, or to provide the source material someone else needs to revise it themselves, is part of the typical label delivery process.
This isn't a reflection of your work being wrong — it's a normal part of working within a label's specific production pipeline and preferences.
Metadata and paperwork often matter as much as the audio
Labels typically have specific requirements around metadata, publishing information, and contractual paperwork that go well beyond what an independent distributor submission requires — confirm these requirements early, since they can affect timelines significantly if addressed late.
Treat the audio delivery and the paperwork/metadata delivery as two separate, both-important tracks of the same process, rather than assuming a finished master alone completes the delivery.
Frequently asked questions
Do labels expect the same master format as a distributor submission?
Not necessarily. Label requirements vary more and can be less standardized than distributor specs -- always confirm the specific label's requirements directly rather than assuming general streaming conventions apply.
Should I prepare stems when delivering to a label?
Many labels want stems alongside the final master, for their engineer's use, remixes, or sync opportunities. Confirm whether this is expected, and keep stems organized from the start since retroactive organization is much more work.
Will a label always use my own mastering pass?
Not necessarily. Some labels want the unmastered mix alongside your master since they may prefer their own mastering engineer or want flexibility for different territories or formats. Confirm this expectation directly.