How do you prepare your audio files for streaming platforms?
Digital music distribution involves a number of technical requirements to ensure your tracks are streamed optimally on Spotify, Apple Music, Deezer, YouTube Music and other platforms. Audio format, sample rate, bit depth, mastering and metadata: find out how to prepare your files correctly before uploading them.
Choosing the right audio format
The quality of your music depends in part on the format you use when exporting your tracks. For professional distribution, opt for lossless audio formats that preserve all the information from your master.
The most commonly used formats are:
- WAV: an uncompressed audio format, particularly suitable for delivering master files.
- FLAC: a lossless compressed format that preserves the original audio quality.
- AIFF: an uncompressed format also used in music production environments.
Avoid sending MP3 files if you have a higher-quality WAV or FLAC master.
Understanding sampling rate and bit depth
These two parameters determine the accuracy with which the digital audio signal is reproduced.
The sampling rate
It refers to the number of measurements taken of the audio signal every second.
The most common frequencies are:
- 44.1 kHz: the historical standard for audio CDs.
- 48 kHz: a common sampling rate in audiovisual production.
- 88.2 and 96 kHz: frequencies used in certain high-resolution productions.
Bit depth
It determines how accurately the signal amplitude is represented.
- 16-bit: the resolution used for audio CDs.
- 24-bit: the recommended resolution for the delivery of professional masters.
- 32-bit floating-point: a working format used in some digital audio workstations.
For a professional-quality delivery, the 24-bit PCM WAV format provides an excellent basis, subject to the distributor’s specifications.
Preparing the master for streaming
Mastering helps to harmonise the sound, control the dynamics and ensure a consistent listening experience across different devices.
Understanding volume normalisation
Streaming platforms use audio normalisation systems to ensure that the perceived volume is consistent across tracks.
In particular, Spotify uses a reference level of -14 LUFS (integrated) in Normal mode.
This does not mean that every track should automatically be mastered at -14 LUFS. Above all, the result must remain true to the artistic intention and the dynamics of the production.
Monitoring the True Peak
True Peak enables you to anticipate signal peaks that may cause clipping following audio conversion.
Spotify recommends, in particular, keeping the True Peak below -1 dBTP, or even -2 dBTP for particularly loud masters.
Good mastering must strike the right balance between power, dynamics and clarity of sound.
Check your files before delivery
Before submitting your tracks to your distributor, there are several checks you can carry out to avoid technical errors.
- Export each track to a separate file.
- Use a suitable WAV PCM or FLAC format.
- Retain the master’s native resolution.
- Check that the file is indeed in stereo.
- Avoid any digital clipping or saturation.
- Check the start and end points of tracks.
- Check that there are no clicks, dropouts or interference.
- Listen to each export in full before delivery.
For an album, also check that the sound is consistent across the different tracks and stick to the intended track order.
Don’t overlook metadata
Metadata comprises all the information needed to correctly identify and catalogue your music.
These include, in particular:
- Name of the artist or band.
- Title of each track.
- Name of the album or EP.
- Order of the tracks.
- Musical genre.
- Release date.
- Information about authors and composers.
- Production credits and credit recipients.
- ISRC codes for identifying recordings.
- UPC/EAN code to identify the commercial release.
A mistake in an artist’s name, the wrong track order or an incorrect code can make it difficult to identify your release.
Please take the time to check all the details before confirming your distribution.
Preparing a portfolio suitable for online platforms
Your visual identity plays a key role in the presentation of your music.
The cover must comply with the technical specifications of the distributor and the platforms.
A few recommendations:
- Square format (1:1).
- High-resolution image.
- Colours in RGB.
- JPEG or PNG format, depending on the delivery requirements.
- A clear and legible image, without distortion.
An image measuring 3,000 × 3,000 pixels is a common working size for digital album covers.
Please avoid unnecessary promotional material, contact details or unauthorised commercial references.
Your cover art should represent your musical project and remain recognisable, even when displayed in a small format.
The most common mistakes to avoid
Even with a high-quality recording, certain errors can compromise the final result.
- Send an MP3 instead of the high-quality master.
- Artificially convert a 16-bit file to 24-bit.
- Increasing the sampling rate unnecessarily.
- Master it excessively loudly and reduce the dynamic range.
- Ignore the True Peak.
- Exported in mono by mistake.
- Forget about metadata.
- Providing an unsuitable pouch.
The best approach is to prepare a clean delivery from the outset, rather than having to correct the files after they have been sent.
Thorough preparation for a successful broadcast
Digital distribution is about more than just uploading a few tracks to a platform.
It represents the final stage of a comprehensive production process that begins with recording, continues with mixing and mastering, and concludes with the preparation of the audio files and graphic elements.
A high-quality master, compliant files, accurate metadata and suitable cover art form the basis of a professional release.
At Hurricane Entertainment, we support artists, bands, labels and producers with their music projects, from technical preparation to the production of physical media.
Are you preparing to release your next album, EP or single? Get in touch with us to discuss your project and receive advice tailored to your needs.
