Question about Mastering for Soundtracks

[mplaster]

Hi folks. I'm curious about the proper way to go about mastering material for soundtracks. But let me first explain my angle... 

I've been signed to an independent record label for over a decade, releasing my own music. I guess you'd could throw it in the "pop" phylum of music (although it's really along the lines of mellow sadcore ambient semi-goth... but i digress.)  Ever since i first got signed with my meager 4-track cassette recordings, and up until now with a considerable computer studio, the record label has always had the mastering done for me. Mainly because i humbly concede that i dont have the skill or ears or gear for quality mastering, as well as the fact that the label has its own regular mastering company to which they go for mastering of most their releases (most the bands on the label are small- if not home- studio artists.) So i have never had to put any thought towards mastering.

Well, this year i have gotten my first big soundtrack opportunity for an independent director. I'm excited about the opportunity, to say the least. However, once completed the score will NOT be affiliated with my record label (who have a refreshingly relaxed attitude about allowing artists to pursue opportunities outside the label itself. ) So this time around, i am facing the question of mastering, as i wont have my record label getting it done for me.

So my questions are these:

Is there a different process that  SOUNDTRACK  mastering goes through as opposed to normal, audio releases? What i mean is, is the score mastered ALONG WITH the dialog, sound effects, and other audio material in the film? I would assume that if music is fully mastered, but then dropped in along with the films dialog, and then mastered ON TOP of that, it could create some levelling issues. Of course, i could be overthinking the whole issue. Maybe it's all separate. But i was curious as to how that process goes, if any of you out there have some experiences to share about the workflow/end result of audio for a film.

And secondly, im concerned about how to approach this. I dont want to appear completely juvenile with the director, and say..."Ummmm, so am I gonna have this mastered or are YOU?" I'm reticent to broach the subject until i have a better understanding of how the music gets mastered and or added to the other audio. Maybe when HE sends the film off to "the Printers" they take care of all these concerns, much in the same way my record label always dealt with it on my behalf. It's likely he has dealt with the subject before, but i just dont want to look like an idiot when the subject eventually comes up.  

Any experiences, or links to info on this subject would be greatly appreciated.

Thanks!

> michael 

[Angelo Clematide]

We don't master the soundtrack, it is the mix we use for the cinema as well for the DVD or Blu-Ray release. Compared to a CDA the average loudness is less.

[mathis]

I'm not really sure if you're talking about the music which is mixed into the film or the soundtrack CD which might be released as a bonus to the film.

First advice is not to talk with the director about mastering, (s)he simply will not understand what you're talking about. Your responsibility as the film music producer is to deliver the music in a form which is mixable against effects and dialog. If you think your music needs mastering, then do some mastering, but don't bother the director with that.

If you master, don't make it too loud. Film is outside the radio competition and there is usually some kind of compression/limiting on the master of the film mix as well. On the other hand my experience is that sometimes compressed music goes less in the way with dialog when used as underscore. But when it is really exposed I would go for a nicely dynamic mix.

[Pivot]

To make a long story short - do not worry about it; and surely do not bother the director with suce issues. Deliver your music with enough dynamic range for the mixer to work with.