Project preparation guide
Everything you need to submit your project correctly and ensure the best possible outcome
Universal export standard
Use these settings unless we have agreed on something different for your project.
- Please send WAV files. We also accept AIFF. Do not use MP3 as your main production file.
- Export at your project's native sample rate . Don't convert to 44.1 or 48 kHz just because it's common practice; we can create the necessary final versions later.
- Send 24-bit or 32-bit float files. 32-bit float is especially useful for printed stems or multitracks; 24-bit is also excellent for a stereo premaster.
- Turn off normalization.
- Disable dithering . Dithering is applied at the end, only if a finished master is reduced to a lower bit depth.
- Avoid clipping. Don't chase a fixed figure of −6 dBFS: a clean, dynamic mix with reasonable headroom is more useful than an arbitrarily lowered mix.
- Allow enough time for the reverb, delay, and release tails to finish naturally.
- Before uploading them, re-import the exported files into an empty session and listen to them .
Why not MP3?
MP3 removes audio information to take up less space. It can serve as a quick reference, but not as a source file for mixing or mastering.
Mix
Send:
- Consolidated audio tracks or intentional group stems, all aligned to the same start and with the same total duration.
- A full reference bounce showing the current array.
- Tempo, sample rate, key (if known), arrangement notes, and direct streaming links to production references. Do not include downloaded commercial reference tracks.
- Notes on vocal tuning, edits, intentional effects, and any elements that should not be changed.
- Dry and processed alternatives when they really bring flexibility—for example, a dry lead vocal and a separate stem with the creative vocal FX printed on.
MIDI and full DAW sessions are only received when previously agreed upon. If an instrument, plug-in, external hardware, or complex routing is unavailable here, please print it to audio. Also, keep the dry source when it provides us with useful flexibility.
Mixing and mastering
Send the Mix package indicated above. Once the mix is approved, Pulsology will tell you how to prepare the final mastering handoff. You don't need to create a separate 16-bit version or convert the sample rate unless we ask you to.
How to submit your project
Send it once. Send it well.
Properly preparing your files allows Pulsology to spend more time on the sound and less time searching for incomplete or misaligned exports. This guide takes about five minutes. If any setting is unfamiliar, follow the safe values below and include a brief note with your questions.
Stereo Mastering
Send:
- A clean, interleaved stereo WAV premaster.
- A loud reference in WAV or MP3 format, if different.
- Include 1 to 3 direct streaming links to reference songs, if helpful (e.g., Spotify, SoundCloud, YouTube, Apple Music, or Bandcamp). Do not upload downloaded copies of commercial reference songs.
- A notes file with artist name, title, BPM, key (if known), release format, label or self-publishing, actual deadline, and artistic or technical notes.
Important: Your premaster should not clip. Let the music breathe; we don't require a precise peak. Do not normalize or dither it.
Mastering by stems
Send:
- A clean stereo reference mix and a loud reference mix.
- Logical musical stems—typically 4 to 8, not dozens of isolated channels. A practical organization is: Kick; Drums; Percussion; Bass; Music; Lead/Vocals; FX.
- The same project notes indicated in Stereo Mastering.
All stems must start at the same shared point and end at the same point, including the tails. By placing them at the same starting point and playing them together, they should reconstruct the approved mix as faithfully as possible.
If group effects, returns, or sidechain relationships are part of the sound, print the stems in a way that preserves that. Include a note if there's an intentional decision—for example, a shared reverb printed as a separate FX stem.
Mastering for vinyl
Contact us before finalizing the delivery.
Send:
- Final sequence of themes and exact titles.
- Assignment of Side A / Side B, desired spaces, seamless transitions and expected duration of each side.
- Approved digital master's degrees or clean pre-master's degrees, as agreed.
- Release notes: format and speed if known, preferred cutting plant/engineer if already chosen, deadline, and if a continuous mix or locked groove was previously approved.
- Notes on very heavy bass, wide or phase-sensitive bass, very bright percussion, or vocal sibilance.
Vinyl is a physical format. Side length, program level, bass, stereo/phase, and high-frequency energy all affect what can be cut well. Don't apply a hard and fast rule of "mono below X Hz" just for this submission; point out your concerns and let Pulsology and the cutting engineer make decisions appropriate for the music.
Export from Your DAW
Choose your DAW below to view the step-by-step export settings. Regardless of the software you use, the objective is the same: use the project’s native sample rate, export lossless files at 24-bit or 32-bit float, disable normalization and dither, avoid clipping, and preserve complete audio tails.
Ableton Live
1. Save a new version of the Live Set before preparing the exports.
2. Confirm the current sample rate under Settings/Preferences > Audio. Use this sample rate when exporting unless another rate has been agreed with Pulsology.
3. In Arrangement View, select the range from the shared starting point of the track, normally bar 1, until after the final audio tail. Press Cmd/Ctrl + Shift + R.
4. For a stereo premaster, choose Rendered Track: Master. Disable Normalize and Render as Loop. Enable Encode PCM, select WAV, and choose the project’s native sample rate and either 24-bit or 32-bit float.
5. For stems, choose Rendered Track: All Individual Tracks only after checking how your groups, return tracks and sidechains behave. Every exported file must use the same Render Start and Render Length. Keep Convert to Mono disabled unless the source is intentionally mono.
6. Ableton’s individual-track export may render child tracks without their group processing while also exporting the group itself. If groups, returns or sidechains are essential to the sound, create intentional group or FX stems, or use Include Return and Master Effects only after checking the result. Do not assume that a one-click export will automatically reconstruct your mix.
7. Check external instruments, hardware inserts and any device that requires real-time rendering. Print or render them in real time when necessary.
8. Zoom in on the first kick or another important opening transient. Clip-edge fades can prevent clicks, but they may also soften the attack. Keep any necessary fade and remove or shorten only fades that audibly affect the transient.
9. Export the files. Reimport them into an empty Live Set at the correct tempo. Check alignment, the first transient, the loudest section and the final tail.
Logic Pro
1. Save a new version of the project. Confirm the sample rate under File > Project Settings > Audio.
2. Set the cycle or bounce range from the shared starting point to the end of the final audio tail. Under File > Bounce > Project or Section, the active cycle controls the bounce range when Cycle mode is enabled.
3. Select PCM > WAV, keep the project’s native sample rate and choose 24-bit or 32-bit float where available in your workflow. Set Normalize: Off.
4. Use Include Audio Tail where appropriate. Otherwise, manually extend the end point. Check that no plug-in is generating an infinite tail.
5. Use Automatic or Offline bounce for internal software instruments and processing. Use Realtime when external instruments, inputs or hardware inserts are involved.
6. For multitracks, select File > Export > All Tracks as Audio Files. Use the full project range or the option to extend the export to the project end, include audio tails, and decide whether volume and pan automation should be printed. Preserve intentional effects and do not remove them accidentally.
7. Disable normalization and do not apply dither unless Pulsology has specifically requested a final file at a lower bit depth.
8. Reimport or listen to the bounce and check the first attack, timing, audio tails and any external sources.
Pro Tools
1. Save a new version of the session and confirm the sample rate and bit depth under Setup > Session.
2. Make a timeline selection from the common starting point to the end of the final audio tail. The selection determines the bounce duration.
3. Select File > Bounce Mix. Choose the main output as the bounce source, select WAV, choose Interleaved for a stereo file, use the session’s native sample rate and select 24-bit or 32-bit float.
4. Use Offline bounce for standard in-the-box work. Use real-time bounce when hardware inserts or external sources require it.
5. For stems or multitracks, consolidate or print every track and group from the same starting point to the same ending point. Include the intended fades and automation. Use a method that preserves the required returns, buses and sidechains rather than exporting disconnected raw clips by default.
6. Do not add a final dither plug-in when delivering files to Pulsology at 24-bit or 32-bit float. Dither is used when making a final conversion to a lower bit depth.
7. Reimport the files into a new session and verify alignment, the first attack, the loudest section and the final tail.
Organize Your Folder
Use one main project folder:
Artist Name – Track Title
├── 01 Premaster
├── 02 Loud Reference
├── 03 Stems or Multitracks
├── 04 Direct Reference Links
└── 05 Notes
Use clear file names that identify the artist, track title, version, and content. Spaces are not a problem; only avoid characters that are not supported by your storage service. When submitting a revision, add a clear version label such as v2, 2026-07-15, or VocalUp.
Compress the main folder into a ZIP file when the project contains many files. This preserves the folder structure and makes it easier to verify the upload.
A single stereo WAV file does not need to be compressed unless the upload service requires it.
Submit Your Project Securely
Preferred option: Pulsology Project Submission Form
Use the Pulsology Project Submission Form.
Upload the project folder or ZIP file through the form and add your direct reference links, notes and contact information in the corresponding fields.
Before submitting, confirm that the upload has been completed successfully.
Alternative option: delivery link by email
If the form is not suitable for your project, send a Google Drive, Dropbox or WeTransfer link to the Pulsology email address agreed for the project.
- Google Drive or Dropbox: Configure the link so Pulsology can download the files without requesting access. Where possible, test the link in a private or incognito browser window.
- WeTransfer: Select an expiration date that comfortably covers the expected project start date. Send the transfer to the agreed Pulsology email address and include the transfer confirmation or link.
- Wait until the upload or synchronization has fully completed. Open the uploaded folder and compare the number and size of the files with the local folder.
- Include the link and any required password in the same email. Do not divide essential information across disappearing or temporary messages.
Final Review Before Submitting
- I exported WAV files, or the agreed AIFF format, rather than MP3 as the main source files.
- The sample rate matches the native sample rate of my project unless another rate was agreed in advance.
- The files are 24-bit or 32-bit float.
- Normalization is disabled.
- Dither is disabled unless Pulsology specifically requested a final delivery at a lower bit depth.
- None of the exported files clip or contain unintended distortion.
- I did not lower the entire mix simply to reach a fixed −6 dBFS target.
- I included a clean premaster and a loud reference when requesting mastering.
- I included every required track or stem, and no essential element is missing or muted.
- I checked the first transient and confirmed that no unintended fade is softening the attack.
- Reverb, delay and release tails have not been cut off.
- All stems begin at the same shared starting point and end at the same point.
- My stems recreate the approved reference mix as closely as possible when played together.
- The file names clearly identify the artist, track title, version and content.
- I reimported or listened to the exported files.
- My notes include the BPM, key where known, direct reference links, release format and deadline.
- I submitted the project through the Pulsology form or sent a tested Google Drive, Dropbox or WeTransfer delivery link to the agreed Pulsology email address.
Frequently Asked Questions
Do I need exactly −6 dBFS of headroom?
No. Avoid clipping, do not crush the mix with a temporary limiter, and leave a practical amount of working headroom.
If the mix is clean and the level is reasonable, the exact peak value matters less than the sound of the mix.
Should I submit 24-bit or 32-bit float files?
We accept both.
Use 32-bit float for stems or multitracks when your DAW supports it and it is practical. A clean stereo premaster can be safely delivered at 24-bit.
Should I apply dither?
Not for this upload.
Dither is normally applied once when a completed master is reduced to a lower bit depth.
Should I remove every plug-in from the master bus?
No.
Keep any processing that contributes to the approved sound. Remove temporary loudness processing unless it is an intentional part of the production, and include a loud reference so we can understand your intended energy and level.
Should I remove every fade in Ableton?
No.
Fades can prevent clicks. Check the first transient and other important clip edges, and adjust only fades that unintentionally change the attack.
Can I submit an MP3 to demonstrate the idea?
Yes, as an additional reference, but never as the only source file for mixing or mastering.
I am not sure which files I need to submit.
Contact us before uploading. A quick review is better than submitting the wrong package.
