Q1: What is a master reference CD?                                        

see also Making CD's

A: If we are doing any additional mastering on your project and before we glass-master your CD, we send a master reference CD for your approval. It will sound and perform like your finished CD in every way, including programmed and shuffle plays. Unlike other one-off CDs, the master reference is a true PMCD with important digital sub coding, commonly known as PQ encoding, necessary to generate a glass master for CD replication. When you have listened and approved this master reference CD, you send it back to us. This is the actual CD that will be used to burn your glass master.
 

Q2: Why do you require masters that aren’t going to be mastered here at the Gate to be properly PQ Encoded, edited and ready for glass mastering?

see also Mastering & Post-Production            

A: As opposed to most mastering-only houses, The Gate is also a manufacturing facility. Our packages include glass mastering from a PMCD After all, if you're completely happy with the way your project  sounded or performed in the studio, a PMCD master CD-R will be all we need. Not everyone who manufactures with The Gate needs post production. Some artists do post production with an outside mastering studio. Other clients are quite happy with the quality of the master they get from the recording studio, and want that exact sound on their CDs and cassettes. However, many people want their final product to have the polish that can make or break a release. The Gate offers several post-production options when you purchase a package. And if you have been looking for these services elsewhere, you know that we can save you thousands of dollars in studio fees alone. If you would like to know more about post production, please see the post-production section of this document and see the post production page on this web site

Q3: What is a release number, and do I need to have one?

A: Record business professionals and anyone that inventories music (stores, etc.) don't refer to records by name, but by release number. A release number, also known as matrix number or catalog number, is an identification number for your CD or tape. The number generally consists of a combination of up to seven letters and numbers (such as CD1001), which can be picked by you and based on any combination of letters or numbers - your band name, artist's name, special dates or numbers, etc. Every project needs a release number since retailers keep their inventories that way. If you do not indicate a release number on your order form, we will assign one to your project

Q4: Do I need a barcode? Will The Gate make one for me?

A: A barcode, or UPC code, is essential if you're planning to sell your CDs or cassettes in stores, to make them [retail-ready] products. As a special service to our customers, The Gate will provide you with a generic UPC barcode number; generate the logo free of charge, and incorporate it in your design. You'll save $700, and stores will be able to scan and sell your merchandise. Please download or special SOUNDSCAN form. (Adobe Acrobat Reader required)To get your own barcode (recommended if you have regularly scheduled releases) assigned by the Uniform Code Council, call 1 800-543-8137 (or 513-435-3870) for an application kit, or visit their site at http://www.uc-council.org/

Q5: If I send you a DAT master for my CD project, do I still need the digital conversion?

A: Yes. Since your DAT is digital you won't need Analog to Digital (A/D) conversion, but because we cannot cut the glass CD master directly from your DAT we do still have to perform a Digital to Digital (D/D) conversion. During this transfer we add the SMPTE time code and PQ encoding, both of which are necessary for programming your CD. (See Making CD’s section on this site.) They allow you to locate specific tracks on your disc and, if your CD player allows it, program which tracks you want to play back. Since we have to do a D/D transfer we will send out a master reference CD for you to approve. This CD is a copy of the DAT master you sent us. Check it carefully. This is exactly what you finished CDs will sound like.

Q6: How can I get a resale certificate?

A: If you take delivery of your product in California, and you don't have a resale certificate, you have to pay sales tax.  Resale certificates are issued by the state to legitimate businesses who resell their merchandise to distributors and retailers, and exempt you from paying taxes for CD and cassette manufacturing. Instead, those taxes will be passed on to the consumer. For more information and the necessary forms call 510-286 0347. Note: Unless you run a full time business that sells to distributors and retailers, it is often difficult to get a resale certificate in California, and the Franchise Tax Board will want annual payments of at least $1,800.00 even if you don't sell anything!

Q7: What happens if I want to change the graphic proofs and/or master reference CD I receive?

see also Graphic Policy

A: It depends on the type of proof. The Gate guarantees your satisfaction with your design and audio proofs, and we work with you to see that you have approved all drafts and final masters. However, once you have approved the designs and masters, if you want to make any changes, even to change or add credits, we will charge for these. Once you've approved your design proof we usually send out a film proof. If you want to make changes at this stage it frequently involves going back to the design stage, making the changes, doing new color separations, and changing the film. This is quite costly, and since the design proof was approved by you, you will be expected to pay for these changes. In order to avoid extra charges please make sure your credits are complete and typed correctly, and that your master tape sounds exactly the way you want it to sound.

Q8: Why do other manufacturers have this policy of shipping up to 10% over or under? And why doesn’t The Gate do this?

A: The Gate utilizes the latest manufacturing technology and the highest quality control which minimizes the [waste] other manufacturers make you pay for. You only pay for what you have ordered. Period. During the manufacturing process, we may find a few units that don't meet our standards. We take care of that, not you, and do not make you pay for anything you did not order. The Gate takes the time and effort to ensure that your order arrives on time and in the quantities you specify.

Q9: What do I need to know if I'm mastering my recording at another mastering studio?

see also Post-Production

A: If you use an outside mastering studio, you should supply us with the PMCD master the studio prepares for you. When you supply a PMCD and do not request any post-production, The Gate will usually not send you a master reference CD. We will make your glass master from the master you send to us--what you sent is what your CD or cassette will sound like. However, supplied PMCD's must contain PQ encoding and a frame-accurate PQ time log. Please listen carefully to the PMCD you are sending to The Gate to ensure quality. If you are ordering both cassettes and CDs, remember that mastering for one is not the same for the other. To get the same-quality sound on both, The Gate will need two masters from you. Call us and we will be happy to help you work with this important difference!

Q10: I've written a number of original songs. How can I protect them?

A: Although any song you write is officially your property, it can be very difficult to prove that in a court of law. Therefore, The Gate strongly advises you to copyright all of your original material. Once officially copyrighted, no one else will be able to record your songs without your permission. (And if they do, this establishes your legal grounds for claiming damages due to infringement of your copyright.) Call the Library of Congress in Washington, D.C.(202-707-9100) to get the necessary forms. You'll have to send them back the completed forms, the songs on a tape, and a lyric sheet, along with a $20 fee. We recommend that you send these materials via certified mail to ensure that they arrive safely. You can send as many songs as you like for the one-time fee, as long as all of the selections in the collection are by the same author. If they are by different authors, at least one of the authors must have contributed copyrighted material to each selection. In a few weeks, you'll receive a clearance form, confirming that your material has been copyrighted. After you've done this, you may want to become an affiliate of a music licensing company. Companies like BMI and ASCAP offer licensing services which track radio play and television usage to ensure that you are paid performance rights. For more information on these services, call: ASCAP: 212-621-6000, or BMI: 212-586-2000, SESAC: 212-586-3450. In audio duplication, the best surprise is no surprise, and The Gate’s master reference is an extra step we take to ensure that you are completely satisfied with your finished CDs

Q11: What should I do if I have a cover song on my album?

A: If you are using someone else's copyrighted composition(s), you need to get a mechanical license in writing. A mechanical license is referred to by lawyers as a (compulsory) license, wish means that it cannot be denied to you or anybody that wants to use a cover song, but it can be a long and sometimes complicated process. The Gate, as part of our commitment to artists everywhere, requires that you affirm that you have the proper licensing on hand, or have applied for it, before we will manufacture your work. There are three ways to get mechanical licenses:

1) First, find out who owns the copyright on the composition by

contacting BMI (212-586-2000 or www.bmi.com ), ASCAP (212-621-6160 or www.ascap.com ), or SESAC (800-826-9966 or www.sesac.com ). Or, if you are Internet savvy, you can Tenet into the Copyright Office’s database and look up the official record. Armed with this info, you can contact the publisher and negotiate your own rates. For a song that is not that well known or that is not in the current music scene, this can often be easy to do. After all, more exposure is what most songwriters are looking for.

2) If you don't want to negotiate your own rates or if the song is currently or was popular, contact the Harry Fox Agency (212-370-5330 or www.harryfox.com ). They are authorized to issue mechanical licenses at the statutory rate .

3) If you cannot afford the standard fees, contact a group like the Volunteer Lawyers for the Arts (call 215-545-3385 for the chapter nearest you). They can often help negotiate reduced royalties for schools and nonprofit groups