MIX or MASTER:

Excepting all digital works (recordings with a DAW). Send .WAV, .AIFF, or .FLAC files in your sessions original bit depth/sample rate. DO NOT covert bit depth/sample rate or dither.

Share your works in a compressed/zip file via your choice of WeTransfer, GoogleDrive, Hightail, or DropBox.

LABELING:

Please supply your tracks (stems), labeled correctly.

(example, Kick, Snare, Vocal, Adlib L, Adlib R).

This will furnish getting to work quickly without possible errors with your sequence.

MIX:

This depends on your inquiry, generally no. Send your tracks (stems) mostly dry. Now if an effect like delay creates the structure of your riff, a distortion or lofi effect on your voice, a large automation of reverb, that is fine (any large automation is better printed as a return tack). These effects can also be requested when supplying dry tracks (stems). Overall, NO master channel saturation or aggressive dynamic adjustments.

If you're reaching out for an additional mix on your project, then any processing changes will be communicated with the original mixing engineer.

MASTER:

When printing your mix, no processing to your master channel. Do not normalize, do not dither.

Note:

a reference track as an example for what you're going for is fine to share, along with the non-saturated file. Your master will render for exactly what you need; the dBTP & LUFS will meet your request.

MIX or MASTER:

Make sure your tracks or mix peak at -4db up to -3db max.

This provides the head-room to make your song(s) sound better.

When exporting your mix DO NOT normalize or dither and make sure nothing is on your master channel.

Note:

a reference track as an example for what you're going for is fine to share, along with the non-saturated file.

MIXING:

Generally no, it would be best to keep tracks (stems) dry or with minimal saturation to help acquire the best processing possible on my end. If an effect like delay creates the structure of your riff, a distortion or lofi effect on your voice, a large automation of reverb, that is fine (any large automation is better printed as a return tack). All effects can also be requested when supplying dry tracks (stems). Overall NO master channel saturation or aggressive dynamic adjustments.

All session work includes vocal-tuning as well as the corrective production needed or requested. If using tools such as Auto-Tune or Melodyne, and you've achieved the correction needed or desired, that is more than fine to print and send. These corrections can also be requested.

MASTERING:

No processing to your master channel, do not normalize, do not dither. Yes, print all effects creating your mix within the suggested peak leveling.

First, I would like to address the scheduling of your works. Not that there is a particular requirement but be sure to inquire and book with the distribution and release campaign schedule in mind.

MIXING:

Per song, I aim for a max turnaround of 2-3 days.

MASTERING:

Per song, a max turnaround of 2 days.

Give or take any particular details regarding a project or revisions. This ensures that I am able to give your project the attention it deserves and obtain your tone desired, while I A/B on many devices and various environments.

At this time, I see it beneficial for each of us. If I were to charge say, $75 per hour, on a mix I would spend at least 2.5 hours on a song. Comparing that $187 to even my highest mixing cost ($150), that times whatever the duration of project allows industry quality work at a reasonable price. My intention is to provide quality with a quick turn around though, this allows the possibility of more attention on a project to not exceed an expected cost. I have been involved in this industry for quite some time with my endeavors, and scheduling a campaign for any project isn't cheap. Quality is mandatory so I feel this option gives great opportunity for all artists to utilize their creations to the fullest.