Can i upload mp3 to tunecore

This is one situation where mp3 files are usually preferred when it comes to delivering your masters. Check your download card service for specifics. Most mastering engineers can easily do this from their mastering software if you provide the info to them ahead of time.

This is a tricky one. Most video editors work at 48k because this is more or less the standard for video production. However, YouTube suggests that audio for music videos be delivered at Also, depending on the playback device, the audio might play back at This means that your audio is likely to have the sample rate converted at some point after it leaves the mastering studio. The important takeaway here is to minimize the amount of sample rate conversions your audio will be subject to by delivering masters at the same sample rate the video editor will work at.

You want to avoid having the video editor convert your Be mindful of the delivery specs for YouTube or whatever video platform you are using when the video editor makes their final export. Avoid using mediocre sample rate conversion algorithms that are often found in video editing software, or basic DAWs like Pro Tools, Logic, etc. Some people make the argument of making a less limited version for video use since YouTube will turn down loud music videos anyway, which you can check HERE. If you are determined to achieve the best audio quality on YouTube, I suggest reading this forum thread that gets into the finer details.

Video editors are not always audio wizards and sometimes when they import the mastered audio or export the final video, things can go wrong. If you have the chance, I suggest checking the master video file before it gets posted for any audio issues.

This means that audio mastered very loud which is most modern music can very easily distort and sound bad on social media. If you are using social media to heavily to promote and share your music, I highly recommend reducing the level so the peaks are no louder than -3dB. You may want to check your mixes and masters in mono to see how this translates.

This is especially true if you have also mastered instrumental versions of your songs, which most commonly get licensed. Acquiring 48k versions of your masters and instrumentals from your mastering engineer should ensure the best sound quality as the audio is less likely to be resampled or converted down the line with potentially subpar sample rate conversion software. Having metadata embedded in your WAV and reference mp3 files can also be critical when used for music licensing so that whoever is using, or considering using the material has access to potentially critical details such as ISRC codes, songwriting, publishing, etc.

Always start with the highest resolution file available and acceptable for the format in which you are distributing your music. Up-sampling a Once a file size is reduced and encoded to mp3 or AAC, you must go back to the source to retain the quality of your original master. You should not convert mp3s into WAV files in order for them to be used for online distribution.

An mp3 is to audio as a grainy, pixilated image is to photography. Once the data is stripped from a high-resolution file, it cannot be brought back. Even though you can technically convert an mp3 back into a WAV file, you will still have a loss in quality compared to the original WAV file.

This loss of quality is particularly noticeable in the high frequencies, resulting in a swirly, underwater sound depending on the size and bit-rate of the mp3. The same is true regarding 24 and bit files. The data is lost. This is why the files you receive from your mastering engineer should require no further processing or adjustments.

After your mastering engineer provides WAV files for uploading to online distribution and streaming services, even if they have tagged those files with metadata, expect to submit the artwork and other metadata separately as you submit the audio files for online distribution.

The distribution service you use will handle the metadata tagging that is seen by the end user based on the info you enter, and what is supported by the end file format.

Each individual store and streaming service has its own file specs for files that the end user purchases or streams, but they are all usually generated from the same WAV file that you submit to your aggregator. The most universal concept is to leave enough peak-headroom to avoid clipping after the streaming services convert your master WAV files to a lossy format mp3, AAC, etc.

Most mastering engineers are now familiar with this concept but for those who are self-mastering, or not familiar with this concept, here are a few tips:. Leaving up to a full decibel dB of peak-headroom on your master WAV files can help prevent clipping and overs when the WAV masters are reduced to a data-compressed format, which is inevitable.

However, setting the output ceiling of your limiter to -1dB, That being said, a lot of big releases and high profile mastering engineers are not doing this and just letting the master WAVs hit 0dB. However, from a technical standpoint, if you want to avoid any clipping or potential distortion when the master WAV files are converted to lower quality audio for streaming, a little headroom can help.

You upload your master WAV files and project details to the aggregator just one time, and they take care of the details regarding getting your music into the distribution channels of your choice. Most professional mastering software can export a mastered project to DDP format very easily.

Most audio playback and CD burning software programs have settings for adding extra space between tracks, and some programs have settings that can alter the sound quality and overall levels which can be easy for users to overlook, resulting in an inaccurate listening experience.

This can lead to problems with song sequencing, incorrect CD-Text, lack of CD-Text, and in some cases the audio itself can be altered if files are handled improperly. This is ideal because the listener will be listening to the exact same file that would be used for CD replication and most online distribution services. DDP is especially useful when the mastering engineer and client are not in the same location because a DDP file can be transmitted via the Internet quite easily.

An ISRC code is a digital fingerprint for each of your songs which helps keep track of airplay and other ways your music can generate royalties and credits. ISRC codes are not essential for CD and vinyl releases, but your songs will need ISRC codes in order to be sold on the iTunes Store, as well as other online distribution channels and streaming services.

Some aggregators can generate ISRC codes for you if needed when you set up online distribution. Fees may apply depending on your method of operation.

Ideally, your vinyl pre-master is one bit or bit floating point WAV file for each side of the record, at the native sample rate of your mastering session. Some vinyl manufacturers may request that your audio masters be sent on an audio CD-R. Only use an audio CD-R for vinyl production if absolutely necessary due to manufacturing limitations.

Using a 3rd party lacquer cutter can greatly improve your final product. Lacquer cutting is the first and arguably the most important step in the vinyl process after your master leaves the original mastering studio. You typically have a more open line of communication with a 3rd party lacquer cutting engineer vs.

This is a big reason why results are typically better when using a 3rd party lacquer cutter. This means that any fixes will likely require major back-tracking and could be costly and delay your order. When using a 3rd party lacquer cutter, once you approve the reference lacquer, the production lacquer s are cut and shipped off to the pressing plant of your choice for the remainder of the process — possibly with a stop in between for metal plating depending on who you are working with for the actual pressing.

You will also want to be aware of how long your sides are for vinyl releases. TuneCore does not own your music. Tunecore is just a distribution service. TuneCore only distributes your music to major music stores and streaming platforms. At the point of writing this, you can sign up for free, but then you will be required to pay a subscription fee before accessing their services. After submitting your release, it will go through the Content Review process.

Once your release has been approved, it will be sent to stores immediately. At that point, it will be the responsibility of each store to make the release live. TuneCore is an online distribution service for musicians, who are frustrated with the low payouts from streaming services like Spotify and Pandora. My Cart There are 0 items. Cart is Empty. Log In. Enter Your Email Forgot Password.