Commonly Reported Issues
See below for the most frequent reasons that assets are rejected/delayed.
Mis-authored DDPs or PMCDs sometimes contain misplaced indices–resulting in audio getting abruptly cut off or audio from a track ending up on the tail of the track preceding it. This issue can be due to incorrect “CD offset” settings in the authoring program, among other reasons. Global Media Production can adjust these index points without re-authoring the DDP, via HexEdit.
2.1 WAV and AIF
Tracks have not been spaced/mastered to each other (mastered individually)
Some .WAV masters, particularly ones that are mastered song-by-song or mastered at multiple facilities, arrive with uneven spacing between tracks, or little to no dead space between tracks. Masters can also arrive with drastically different compression, headroom, or loudness among the different tracks. Global Media Production can respace/reassemble/relevel masters as needed.
File is single-channel mono
Many of Sony’s partners don’t accept single-channel mono submissions. For audio that is submitted single-channel mono, Sony Music will either need new audio, or, alternatively, Global Media Production can convert the file to dual-mono.
File is upconverted from ‘lossy’ compression format
Masters originating as lossy compression formats (MP3s, AACs, etc.) that are then upconverted to 16bit/44.1kHz WAVs don’t gain back any of the data lost in the initial lossy compression encoding. Included in the data lost is most information above ~16kHz, and high information immediately after transients, resulting in the typical ‘swishy’ sound that lossy compression songs have. Global Media Production has no way of recovering this information–a new master needs to be provided.
2.2 ADM (formerly MFiT)
File is upconverted from 16Bit .WAV
ADM or HiRes .WAV Masters originating as 16Bit WAVs that are then upconverted to 24bit WAVs don’t gain any additional resolution. This phenomenon is often described as ‘16Bit information in a 24Bit shell’. Apple requires that masters submitted as ADM contain 24 active bits–masters submitted with only 16 active bits will not be given the ADM badge. Global Media Production has no way of recovering this information–a new master needs to be provided.
No ADM certified Engineer
Apple requires that masters submitted as ADM be tested/certified by an ADM-certified facility or Engineer. Global Media Production is ADM-certified and can test/certify 24bit masters for ADM submission if needed.
2.3 HD AUDIO
File is upconverted from 16Bit .WAV
See section 2.2 (above) for a full description. Like Apple, most HD/HiRes partners require that submitted masters contain 24 active bits–masters submitted with only 16 active bits will be flagged and/or rejected. Global Media Production has no way of recovering this information–a new master needs to be provided.
File is upsampled from lower sample rate
Masters originating as 44.1kHz WAVs that are then upconverted to a higher sample rate WAVs don’t gain additional file information. At best, the file remains the same, and at worst, aliasing and artifacts are introduced if/when the file is converted back down to 44.1kHz by some programs/drivers. Some HD/HiRes partners require that submitted masters are not upsampled–masters submitted with abrupt cutoffs in frequency will be flagged and/or rejected. Global Media Production has no way of recovering this information–a new master needs to be provided.
3.1 Vinyl Side WAV
File doesn’t have track index markers
Track index markers are encoded/carried in the header section of Broadcast WAV files (BWFs). Some cutting engineers request or require these markers in the vinyl side WAVs, as they are helpful for the to mark the vinyl for song starts–particularly for programs with crossfaded track breaks. These cutting engineers will sometimes add additional charges for masters that don’t contain track index markers. Global Media Production is able to encode track index markers onto vinyl sides if requested.