• Track length must be 6 minutes or less. There will be an extra charge for longer tracks.
• A total of two revisions are included in the price.
• Extra revisions thereafter are charged at £25 per hour.
• A 100% deposit is paid prior to the mix being started.
• Two or more reference tracks are recommend.
• All your audio files must start at bar 1 and run continuously.
• All files must be clearly and correctly labelled.
• The tempo and key of the track must be specified.
• Make sure none of your tracks are clipping.
• If you have printed reverbs and delays on your tracks, also send a clean raw copy without them. Put them in a folder named raw files and label them the same. You will not be charged for these extra files, but we may need to use them if the original files are conflicting with the mix.
• If you don't have access to the raw files, don't worry, we will somehow think outside the box and fix it.

A standard professional mix, will get all the files you sent sounding their best. They will be mixed using tried and tested methods, that allow for suitable variation in the equipment used.

A reference track or two would be advisable, but not essential.

No other tracks or extra production will be added by us, so only the tracks you have sent will be mixed. If you feel like there is something lackluster among the files you've sent, but don't have the budget to spend on a creative mix, you could purchase an INSTRUMENT EDIT BOLT ON and we can spice it up a little for you. For example, if the recording of the kick drum is really poor and you already have your doubts about it, we can replace it or layer it for something way better.

Whereas a standard professional mix, will get all the files you sent sounding their best, they will be mixed using tried and tested methods, in a straight forward but highly effective way.

A creative mix will allow more time in the project for experimenting with ideas. There are many other ways to do a mix, than in a straight forward manor. However, there is a lot of trial and error to this method, but it will give you a more unique sound. It'll give more time to try different effect chains and parallel processing chains to find one that works in a suitable and unique way with your track. It allows more time for more detailed automation to be programmed. It allows more time for us to listen objectively.

There will also be some added mix production in this type of mix. It's not the type of production that is meant to be heard and stand out front.  It's the type of production that is used to expand existing sounds.  Usually by layering things with underlying tones and samples. We suggest you read our production page, to give you an insight to how things that are done with music during the production phase.  This production phase is often overlooked (especially with bands). They then get to the mix phase of a project and realise their track doesn't sound like their hero bands. A creative mix will go someway to alleviate that.

The creative mix also includes the vocal editing bolt on, so that will be something you don't have to worry about.

• Vocal editing is for the entire project. The project length will be no more than 5 minutes (or thereabouts). A longer project will need another Vocal editing bolt on purchasing per extra 5 minutes.
• All the vocals will be scrutinised for tuning and timing errors. A varying degree of correction will be applied according to the genre of music. For example, pop music is tightly tuned and edited, where more organic genre’s will need a little breathing space leaving for that human feel. You can also specify what it is you require.
• All tuning will be done in a transparent way, on a note by note basis. It will not be a blanket auto-tune.
• All timing will be done manually. It will not be a blanket quantisation.
• Clip gain will also be applied, which will turn up parts that are too quiet and down, parts that are too loud. This is a pre mix procedure, that allows for a better result from the actual mix.

• Instrument editing is for an individual instrument. The project length will be no more than 5 minutes (or thereabouts). A longer project will need another Vocal editing bolt on purchasing per extra 5 minutes.
• The specific instrument will be scrutinised for tuning and timing errors and corrected accordingly.
• All tuning will be done in a transparent way, on a note by note basis. It will not be a blanket auto-tune.
• All timing will be done manually. It will not be a blanket quantisation. It will not be timed to 'the grid', it will be timed to the other instruments.
• Clip gain will also be applied, which will turn up parts that are too quiet and down, parts that are too loud. This is a pre mix procedure, that allows for a better result from the actual mix.

• Drum kit editing is for the entire kit. The project length will be no more than 5 minutes (or thereabouts). A longer project will need another Vocal editing bolt on purchasing per extra 5 minutes.
• The drums will be scrutinised for timing errors and corrected accordingly.
• All timing will be done manually. It will not be a blanket quantisation. It will not be timed to 'the grid', it will be timed to the groove of the track.
• Clip gain will also be applied, which will turn up parts that are too quiet and down, parts that are too loud. This is a pre mix procedure, that allows for a better result from the actual mix.
• All drum files will be affected (kick, snare, Oheads, rooms, toms hats).
• Phase correlation will be preserved.

Once the mix is finished, each audio file can be exported individually with the mix processing printed on them.  You can then import those multi-track audio files in to your own DAW or system, set all the faders to zero and the mix will be the same as the final master mix (with exceptions).

Those exceptions are...

All mixed files will be going through some form of buss processing.  The buss processing will not be on the individual files (that's just the way things work).  You will however receive an audio file of each particular buss.  For example, the drum kit will be going through the drum buss. You will receive individual audio files for each element of the drums with their channel processing printed on (kick in, kick out, snare top, snare bottom etc). You will also receive a copy of the drum buss as a stereo file. This will have the entire drum kit with all the channel and buss processing printed within it.  It would be up to you how you use these files and for what purpose. You wouldn't generally use both at the same time, you'd use one or the other, but you will have both to choose from.

If you need something mixing really quickly, you can pay the stated service fee and we will drop everything we're doing and focus on your project.

Some radio stations insist that tracks have to be within a certain duration. We can accommodate this by removing suitable parts of the track for you and giving you a radio edit.

You may also want any expletive language removing, or replacing.

You may want us to extract a mixed acapella from your track for use elsewhere. We can do this for the fee shown.

You may also want an instrumental of your track, with the vocals (all or just the main vocal) removed. This can then be used as a backing track when you are singing live for example. We can do this for the fee shown.

We mix ‘in the box’.  That means I don’t use a hardware mixing desk.  All our mixing will be done using high end professional software from leading manufacturers.  Sometimes, we will use hardware equipment along side the software, but that depends on what we need at the time.  The reason we don’t use a desk is because in this day and age, it’s not required and recalls are a nightmare.  A recall is when the mix is ‘finished’, but then two weeks later the client wants to change something.  If you’re on a desk, that means you will have to go through a whole lot of notes and reposition all the knobs etc to how they were for the last mix.  Very time consuming and inaccurate.

Mixing in the box means this process is instant and exact.  Digital desks also allow for this, but there’s nothing to be gained in the sound from a digital desk, so there’s no point.  Some studios will use analogue desks, like SSL and Neve because they add a beneficial colour to the sound.  However, those desks are simulated within software now a days.  Some studios use any mixing desk, just for the sake of it.  They can add an undesirable colour to the sound.  So unless you’re using a supreme quality desk for the colour, then there’s nothing to be gained by using a desk at all, other than for tactile preference.  Today, many mix engineers choose to their mixing in the box, or a hybrid thereof.  Mainly due to the ease of recalls and advancements in technology.