How to Prepare Your Audio Tracks for Editing
- drumaudioediting
- Jul 20
- 6 min read
If you’re here, chances are you’ve finished recording your masterpiece—or at least a very ambitious demo—and you’re now staring at your DAW thinking “How the hell do I send this to someone without looking like a total amateur?” Don’t worry, you’re not alone.
Preparing your audio tracks properly before sending them to an audio editor is one of those overlooked but massively important steps. It saves time, prevents back-and-forth emails, and ensures the final result is exactly what you want.
This simple, yet detailed guide will walk you through how to prepare your audio tracks for editing without the jargon, covering everything from recording tips to exporting correctly. Let’s dive in.
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How To Prepare Your Audio Tracks For Editing In 5 Steps
1) Recording: Get it Right at the Source
What: Capture your best takes with strong levels, no distortion, and minimal background noise. Sounds obvious, right? But this step is the bedrock of everything that comes after.
How:
Make sure your input levels aren’t too weak—aim for a healthy signal so the audio averages around -18dB on the track meter.
Avoid clipping at all costs. Once a waveform hits the ceiling (0dB) the waveform cuts off as the input signal has gone beyond it's measurable value. This causes unwanted distortion that can't be undone.
Use good mic techniques. This doesn’t mean you need an expensive mic, just use what you’ve got wisely.
Make sure there’s minimal background noise (air conditioners, barking dogs, that one flatmate who never stops talking on speakerphone).
Why: Even the most skilled audio editor can’t salvage a take that’s clipped, muffled, or sounds like it was recorded with a baked potato. Clean, clear recordings are easier to edit and will sound more professional in the mix.
2) Comping: Frankenstein Your Best Takes Together (the Right Way)
What: “Comping” is short for “composite,” which is basically the process of choosing the best parts of each take and stitching them together into a flawless single-track performance.
How:
Go through your takes and select the best phrases or sections.
Use crossfades at all edit points to smooth things out. Not doing this will cause clicks and pops in the audio when you export the audio file.
Once you’ve built your comp, bounce it as a single audio file (or a set of audio files if it's a multitrack recording such as drums.
Label your tracks clearly: e.g., “LeadVox_Comp.wav” not “Audio_03_Derek.wav”
Why: Audio editors need a clear, final take to work from. If we’re guessing what take to use—or worse, trying to comp for you—it costs time and money. Plus, getting familiar with comping helps you become a better recording engineer over time.
NOTE: If you communicate to your audio editor beforehand, they may be happy to comp the tracks for you. Communication goes a much longer way than dumping them with 13 takes of bass guitar across 38 audio files.
3) Exporting: Clean, Consolidated, Consistent
What: Export each track from your DAW so all files line up properly in the editor’s session. This is where things can go horribly wrong if you’re not careful.
How:
Remove all effects. Yes, all of them. That includes plugins, sends, EQ, compression, virtual amps, and definitely that reverb you fell in love with. Send dry, unprocessed tracks unless otherwise requested.
Turn off any panning you've done. Audio editors usually work in mono unless instructed otherwise. All panning can be re-done during the mixing stage.
Export all tracks from the same starting point—usually bar 1, beat 1. Even if a part doesn’t start until the chorus, it needs to have silence at the start so it lines up correctly when the editor imports it.
Don’t normalize or apply dithering unless your editor specifically asks for it.
Send WAV or AIFF files. Never MP3. MP3 is for your grandma’s 4-bit ringtone, not pro audio.
Why: We want everything to slot into our session without needing to solve a jigsaw puzzle. Sending effects or improperly aligned tracks = delays and possible extra fees. A well-exported session says “I respect your time.”
4) Share the Session Specs: It’s Not Just About the WAVs
What: When you send audio files, you also need to provide some essential session info. Think of this like handing over the instruction manual.
Include:
Sample Rate (e.g. 44.1kHz, 48kHz): Match the rate you recorded at.
Bit Depth (e.g. 24-bit is standard).
Tempo and Time Signature(s). If there are multiple tempo and time signature changes, the easiest thing to do for both parties is to export a tempo map. You can create a tempo map by inserting a MIDI track into your session and then plot any note into it. Make sure the notes starts at bar 1, beat 1 and is extended so it lasts through the full song. When you export this MIDI file it will automatically also export the tempo information for the project.
Key Signature: Useful for tuning and vocals and harmonies.
Why: Working without this info is like trying to build IKEA furniture without hands. It slows down the workflow and increases the risk of errors.
5) Know Your Editing Goals (and Be Realistic)
What: Before sending your tracks, know what kind of editing you want—and what you don’t want.
How:
Do you want everything perfectly aligned to the grid?
Or do you want a natural feel with just minor corrections?
Do you want vocals tight to the beat or left slightly loose for vibe?
Do you need comping and noise removal or just time correction?
If you've not been able to provide audio tracks that have been well recorded, either in quality or performance (or both), don't expect miracles. Even the best audio editing engineers can't turn a turd into gold.
Be specific. Communication saves headaches.
Why: If you’re vague (“edit these tracks”), you’re relying on the editor to read your mind. This can lead to misaligned expectations, project delays and potentially costly revisions.
Bonus Tips For Preparing Audio Tracks For Editing
If you manage to prepare your audio tracks for editing to the above standards, I guarentee your editor will have a blast working with you. As a result you will build a solid working relationship that will not only make the project run much smoother, but will end in pro-level music. Everyone wins.
If you want to go the extra mile and potentially have him/her at one of your shows buying you and your bandmates shots of Jagermeister by the dozen, you can:
Add your files to a folder and 'zip' them before uploading them to Dropbox, WeTransfer, or Google Drive.
Include a text doc or email with notes: List song title, BPM, any weird quirks we need to know.
Record your bass and guitars via DI's or provide a simultaneously recorded DI alongside your close-mic amp tracks. Spotting transients and time correcting heavily distorted guitar tracks can be very difficult to do accurately.
Final Thoughts
Getting your audio tracks prepped properly isn’t rocket science, but it does require some care and attention. Following the steps above helps your audio editor get straight to work—no guesswork, no re-exports, no delays.
Think of it like prepping a meal for a chef: the better your ingredients and prep, the better the final result.
And hey, once you’ve sent those pristine, beautifully-labeled audio files off into the ether, give yourself a pat on the back. You’re not just a beginner anymore—you’re someone who knows how to prepare audio tracks for editing like a pro.
Need a Hand with Your Edits?
If you’re feeling overwhelmed or just want to hand your tracks off to someone who lives and breathes this stuff— that’s literally what I do.
I’m Eddie, founder of Drum Audio Editing, and since 2019 I’ve worked with everyone from Grammy-winning engineers to home studio musicians; editing drums, guitars, vocals and full instrumentations for projects all over the world. If you’re after mix-ready, phase-tight, pocket-perfect edits without the stress, I’ve got you.
Whether it’s one track or a whole album, I’d love to help.
📩 Click here to get a quote or shoot me an email at contact@drumaudioediting.com and let’s chat.
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