You can upload your stems (individual tracks) via our website’s submission portal. Ensure files are labelled clearly (e.g., "Kick.wav," "Vocal_Lead.wav") and exported in WAV/AIFF (24-bit or 32-bit) format. Avoid clipping and leave processing decisions to us for the best results.

Yes! We include basic vocal tuning (pitch/timing corrections) and editing (breath/noise cleanup) in our mixing service. For advanced editing (e.g., comping multiple takes), select the "Vocal Editing" add-on during checkout.

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Yes vocal tuning is included as standard in our full mixing service, and as an added extra for our vocal mixing service, selectable at checkout. 

Yes, we use advanced industry standard tools and software to clean up unwanted background noise, clicks, hums, and other artefacts from your recordings before we begin our processing, to give you the highest fidelity final product.

Yes, we can provide multiple versions of the mix as needed, you can add standard requests such as radio edits and stage or instrumental versions as extras during checkout by selecting them as checkout options for the songs that require them. For any non standard requests or if you wish to discuss a requested version more specifically please get in touch.

We mix both! Studio recordings, live recordings, or fully in-the-box productions, as long as you have the individual instruments recorded as separate tracks/channels we can mix it!

We offer remote attended sessions (via Zoom/Google Meet) for real-time feedback. Book in advance for an additional fee.

Mixing balances and processes individual tracks (vocals, drums, etc.) into a cohesive stereo file. It involves EQ, compression, panning, reverb, and automation to achieve clarity, depth, and emotion.

Yes! We provide pre-mix feedback (e.g., tuning issues, balance problems) as a paid add-on service. This helps you refine your recordings before mixing.

  Prepare your stems (labeled, 24-bit WAV).



  Upload via our website.



  Select mixing options (e.g., vocal tuning, revisions).



  Check out—we’ll deliver your mix within the agreed timeframe!

Standard turnaround is 5–7 business days per song. Rush options (48–72 hours) are available for an extra fee.

  Label tracks clearly (e.g., "Snare_Top.wav").



  Export dry stems (no master bus processing).



  Leave headroom (peaks at -6dB to -3dB).



  Include a reference track if you have a specific sound in mind.

Yes! Bundled mixing & mastering saves 15–20%. Select the "Mix & Master" package at checkout.

Our "Studio Ready" package includes mixing + mastering, vocal tuning, and loudness optimization for streaming platforms. Just send your raw tracks!

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Yes! A rough mix helps us understand your vision, and our uploader will let you make comments on the song that are stuck to timed markers, so your engineer will be able to understand exactly what you are talking about!

Vocal mixing focuses on clarity, pitch, and emotion. We:



  Balance levels with the instrumental.



  Apply EQ, compression, de-essing, and reverb.



  Tune pitches and edit breaths (if requested).

Yes! Send your vocal stems (dry or with minimal effects) and the instrumental track (unmastered, ideally as a WAV). We’ll blend them seamlessly.

Unlimited! Common stems include:



  Lead vocal



  Doubles/Harmonies



  Ad-libs



  Backing vocals

Include all comped takes as separate files (e.g., "Vocal_Lead_Take1.wav") or a single edited track. Specify if you’d like us to comp for you.

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Yes! Reference tracks help us match your desired sound (e.g., "Make my vocals sound like Artist X"). Attach them during submission.

Professional mastering ensures your track is optimized for loudness, clarity, and consistency across all playback systems. Your favorite artists’ tracks have been expertly mixed and mastered by engineers who balance dynamics, EQ, and stereo imaging to achieve a polished sound. Our mastering service will bring your music to that competitive level.

Whatever people say about the loudness wars, mastering engineers do make music ‘louder’. We can even increase the perceived loudness with extra limiting or clipping, but this can destroy the dynamic range and energy within a track. With the advent of so many new ways to distribute and consume music, standards in loudness levels are now being set. Some streaming sites even use loudness normalisation, meaning if a master is too loud, the service will reduce its gain to align to a target. Having your track professionally mastered by an experienced engineer will make your music sound right in place on any streaming service, as well as on vinyl, CD or even cassette tape if that’s your flavour! If you want your music to sound loud and clear, it is highly advisable that you do not have any processing on your master output, and mix the track at around -6db (with the master fader at 0db).

Mastering is the final step in audio production, where a track is fine-tuned for optimal sound quality, loudness, and compatibility across all platforms (Spotify, Apple Music, vinyl, etc.). It involves EQ adjustments, compression, stereo enhancement, and limiting to ensure your music sounds its best everywhere.

While not mandatory, mastering significantly improves sound quality and ensures your music meets industry standards. Unmastered tracks often lack punch, clarity, and volume compared to professionally released music.

Of course you can! But, it might not be a great idea as the job of a mastering engineer is to be objective, which is difficult if you have already spent many hours mixing a track. 

Problems in mixes can often be caused by problems with the acoustics in the mix room. Mastering on the same system will mean these problems don’t show up. This is why is it important for the mixes to be mastered in an acoustically controlled room by another “set of ears”. 

Simply upload your high-quality mix (WAV/AIFF, 24-bit or 32-bit) via our website’s submission portal. Ensure proper headroom (-6dB to -3dB peak) and avoid clipping. After checkout, we’ll process your track and deliver the mastered version via email. You will need to export your mix as a stereo file. If you need a guide on how to export your song in this way we have a detailed description available here. 

We are very happy to listen to your almost finished mixes before you send them for mastering. Some problems that are difficult to fix in mastering are easy to fix in mixing so making small alterations to the mixes can be beneficial. 

We just ask that you pay a deposit of 30% of the fee before we spend time on your tracks to ensure that we can devote the time required to listen to them properly. 

Standard turnaround is 2-3 business days. Rush options are available for an additional fee.

I guarantee I’ll have your fully mastered audio back to you in full in under 72 hours. Larger projects may take longer but I’ll always let you know on a timetable.
I also offer guaranteed 24 hour mastering at a more premium rate if you’re on a time crunch.

Please allow 3 - 5 business days for your mastering to be completed. Sometimes it will be less depending on our workload but in general 3 days is about right. Obviously allow longer for album Mastering. If it is going to be much longer, your Mastering engineer will contact you by email and let you know.

No—disable all mastering plugins (limiters, compressors, EQ) on the master bus. We need an unprocessed mix to work with for the best results.

Aim for -6dB to -3dB peak headroom. Avoid clipping (0dBFS) to prevent distortion.

The most important factor is that the master output is not clipping. This is exceeding digital zero/clip point/0dBFS. An ideal situation would be if your mix was peaking between -12dBFS and -6dBFS . However as long as it is not hitting 0dBFS it is a non issue. Most DAW’s will give information about a file so you can check the samples maximum peak value. You may use the compromise of pulling back the master fader by the amount needed to stop clipping. In future if you start your mixing with the kick drum peaking at -14dBFS at 24 bit you should have ample headroom on your mix down.

With regards to audio production, headroom refers to the amount of of space, measured in dBs (decibels), between the highest point in the audio and the point where clipping occurs (at 0 dB with a digital setup, 24 dB on an analog setup). Leaving more headroom makes my job easier and while there’s no hard and fast rule other than keeping it low enough so that no clipping occurs at any point, generally anywhere between -6 and -3 dB (digital), with no limiting, is preferable.

No—normalization can reduce dynamic range. Export your mix at its original levels with proper headroom.

For mastering, submit 24-bit or 32-bit files without dither. Leave the dither to us! Dither is a process that should be applied at the very final stage before converting down to 16 Bit depth for CD Format. Dither should only ever be applied once and is an important part of the mastering process. It is better to work in the highest bit depth possible until this very final stage, so that adjustments made to your audio will be more accurate. So, if you stay in the format that you recorded in, or that your project is in, you do not need to consider applying dither in any case.

Yes, we can provide multiple versions of the master as needed if you have multiple version of the song. Each extra version is only charged at half our usual mastering rate. Please get in contact and we will arrange your order.

Yes, we provide stem mastering services which allows us greater control and flexibility in the final master. You can select stem mastering as an option on the mastering checkout page. Please note that our estimated turnaround time for stem masters is three days. 

Visit our website, upload your mix, select your preferred service, and complete checkout. We’ll handle the rest!

Every new client can begin with a free test master sample from me.

Once I get that back to you, you can decide if you want to move forward with any additional tracks or albums you need engineered at my current rates. After we have agreed on a price based on the project and my rates, I’ll send you an invoice via PayPal which accepts most payment methods.

We deliver high-resolution WAV (24-bit) by default. MP3 and other formats are available upon request.

Mastered files are delivered to you in the same format you provide to us. For example, if you upload a 16bit WAV file, your master will be delivered in 16bit WAV format.

For the highest fidelity, we recommend you upload in a lossless format such as WAV, FLAC, or AIFF. 
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Will receive WAV and MP3 files for the master all inclusive, unlike many other providers who will charge extra for an MP3 version.
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As a standard, we deliver 16 bit / 44.1 kHz WAV files for CD mastering or digital release. We also include a high quality 320 kbps Mp3 as a standard. In our order form you can also request a DDP or Red Book Audio CD (PMCD) file set if you intend to have a CD's burnt at a pressing plant. Likewise you can request a 24 bit WAV file if you intend to burn to DVD or perhaps have vinyl pressed. Please do not request these files from us if you are not certain that you need them as it is a lot of extra work!

  Export at 24-bit WAV/AIFF



  Leave -6dB to -3dB headroom



  Remove master bus processing



  Label files clearly (e.g., “SongName_Mix_v2”)

Audio quality can be very subjective. Before hiring a mastering engineer for a project you should have a clear objective on how you would like the finished project to sound.

Communication of these objectives between client and engineer is a key component to the success of a project. The language used to describe the character of audio can be ambiguous. Terms like “brassy,” “fat” and “present” mean different things to different people.

One of the skills of a great mastering engineer is to able to translate this loose terminology into the specific technical processes required to achieve the client’s goals in a non-obtrusive way.

Some mastering engineers find reference tracks from clients to be helpful. Reference tracks can be worth a thousand words, because they serve to demonstrate the sonic objectives of the client.

My personal preference is to receive mixes that are as close as possible to what the finished product should sound like, but with enough leeway to be able to manipulate the sound in order to mold a cohesive album. Some general tips toward achieving this are:

Knowing your room and monitors. If you are using smaller nearfield monitors for mixing, be sure to listen to the mixes on a system that has extended bass to ensure that there are not low end bass problems.

If your monitors or room “color” the sound in any way be sure to compensate to ensure that the mix will translate well on other systems.

Fix track related issues before mastering. Listen for issues like excessive sibilance, uneven or exaggerated frequencies, phase or polarity problems, bad edits, depth and width of the sound field, and the relative levels of instruments and vocals.

I recommend listening to a mix in mono in order to hear if anything disappears or becomes exaggerated as well as listening to the mix at different levels and positions within your room. This can sometimes make an issue more obvious due to a different perspective.

Leave enough of the mix dynamics intact, so that the engineer can make adjustments not only in the overall level but in the punch and clarity of the transients.

Don’t use any processing on the master bus that will interfere with processing that is best performed while mastering. This may include exciters and harmonic enhancers, EQ, normalization and limiting used to achieve a higher overall volume.

Leave the heads and tails of a mix intact so that there is room ambience before the music starts and enough of the music at the end to be able to tailor the fade out. Having a bit extra at the start and end can also be useful so that a “noise profile” can be created for noise reduction systems that use this as a technique for removal of broadband noise.

Use mute and volume automation to remove extraneous noises from the individual tracks. Noises include headphone bleed when the vocalist is not singing, hum from electric guitars during breaks, and a drummer who may lay down his sticks after the cymbals fade at the end of a song, but before the final fade out of other instruments.

At this time, our audio Mastering service does not support DJ sets or podcasts. The limit on a mastered track is currently 10 min in length. If you have a long format audio i.e. podcasts, audiobooks, DJ Sets, TV and sync, please get in touch for a custom quote.

We do not currently offer attended sessions for mastering.

Yes, we can provide you with either a DDP file set (with ISRC codes if provided) or a Red Book Audio CD file set (PMCD). This is only useful if you are sending your final production master to a CD pressing plant and these are the industry standard formats. If this is the case, just tick the 'DDP Master'  box on the checkout options, and specify the format desired in the song notes.

Yes, we can. We do not provide a transfer to lacquer disc for vinyl manufacturing but we can submit you files mastered for vinyl production. Your vinyl pressing plants can then go ahead and make the Master Cut from the mastered files. Master Cuts are often done by the vinyl pressing plant but not always so please investigate this before ordering.

Mastering for vinyl does incur a 20% price increase payable after file delivery.

An ISRC (International Standard Recording Code) is a unique identifier for your track, required for streaming and sales reporting. Provide yours, or we can assist in generating them.

TOP TIP : Apply for your ISR codes (ISRC) now. (If you are unsure what they are please read below) I can embed them into RED Book DDP and CD-R masters and also Broadcast .wav AXML chunk as designated by the EBU (European Broadcast Union) Search “ISRC PPL” and register with PPL online for a registrant code for your tracks.

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If you’re planning on selling your music through digital retailers (i.e. iTunes, Napster, Sony Connect), then having the ability to assign ISRC codes is absolutely necessary. The ISRC (International Standard Recording Code) is a unique international identifier for tracks on sound and music-video recordings. Comprised of a 12 character alpha-numeric code, the ISRC functions as a digital “fingerprint” for each track. Unlike a UPC code (a.k.a. bar code) the ISRC is assigned to individual tracks and not the carrier of the tracks (CD, cassette). In addition, the ISRC remains allocated to a track regardless of changes in ownership. It is an extremely powerful tool for royalty collection, administration, and anti-piracy safeguards in the digital arena.



The ISRC is made up of four parts:



  Country Code: The registrant’s (sound recording copyright owner) country (2 characters).

  Registrant Code: The code of the registrant that allocated the ISRC (3 characters).

  Year Of Reference Code: The year in which the ISRC is allocated to the recording (2 characters).

  The code assigned to the track by the registrant. This code may not be repeated within the same calendar year (5 characters).The RIAA assigns registrant codes and answers questions regarding implementation of the ISRC program for free. There is no charge for these services regardless of whether or not you are a member of RIAA. Your implementation of the ISRC is cost effective. It can be done without special investment in equipment or technological measures. It only requires you to develop an internal system for administering ISRCs. Applying for a registrant (company) code is easy, and best-of-all FREE! This code can be obtained from the RIAA, the national ISRC administration agency for the United States. Membership in the RIAA is not required to obtain a registrant code. The RIAA strongly encourages all U.S. sound recording copyright owners to apply for an ISRC Registrant Code, and assign ISRCs to all tracks.

Yes, we offer in-person recording sessions at our studio by appointment. For remote clients, we also provide guidance for self-recording or partner with local studios in your area when needed.

Recording time varies depending on the complexity of your project. A single vocal track might take 1–2 hours, while full band sessions could require a full day or more. We’ll help plan the best schedule for you.

Warm up, rehearse your parts, bring lyric sheets or notes, and avoid alcohol or dairy before recording vocals. Come well-rested and punctual—we want to make the most of your session time!

Yes. For in-person sessions, a professional engineer will guide you, manage the session, and ensure you get the best possible sound.

You have full creative control. We’re here to guide and support your vision—not override it. You’ll be involved in all key decisions.

Our studio is equipped with high-end microphones, preamps, analog gear, and industry-standard digital workstations. A rough list is included, this is subject to change. A full equipment list is available upon request.

Preamps:
Phoenix Audio DRS Class-A Mic Pre's
ISA430 MK-I Transformer I/O Mic Pre
Audient Discrete Mic Pre's
80's Soundcraft Mic Pre's
Akai Tape Mic Pre's
8 x Auxiliary I/O

Monitoring & Metering:
Amphion One18
Danish Audiophile Loudspeaker Industries Spektor II
Yamaha HS8
KEF Bookshelf
Beyerdynamic DT990 250Ohm
Beyerdynamic DT770 250Ohm
Cambridge Audio Amplification
REL Subwoofer
TC Electronic Clarity-M Metering 

Outboard:
Lexicon PCM80
RDS1000 Time-Machine Silverface
Korg DL8000R
Ibanez Analog Delay
MoFX Electrix
Rigsmith Delay
Akai 4000DS 7" Tape Machine
Phoenix Audio Inductor EQ
ISA430 EQ
Soundcraft 80's Channel EQ
DBX 131 Graphic EQ
ISA430 Compressor/Expander
ISA430 Deesser
ISA430 Limiter
Radial JDI Transformer DI
Phoenix Audio Class-A DI
Cymatic Audio DI
Audient JFET DI

Mics:
Austrian Audio OC818
Telefunken ELA M 251 Clone
SE Electronics Condenser
Sure SM57
Sure Beta 58

Sound Sources:
Roland TR626 Drum Machine
Aleysis SR50 Drum Machine
Arturia Spark Drum Machine
Casio Fully-Weighted 71-key Keyboard
Nektar Panorama 51-key Keyboard
Alysis Oxygen 49-key Keyboard
Arturia 21-key Keyboard
Various Percussion Instruments

Bring your instrument (if not using ours), lyrics or sheet music, a USB or hard drive for backups, and any references that help explain your sound.

You’re welcome to bring guitars, keyboards, percussion, or any unique instruments you’d like to use. Just let us know ahead of time so we can prepare.

Our studio can only accommodate one guest. For larger ensembles, get in touch and we can schedule time in a larger facility for the session.

Yes! We offer mobile multi-track recording for live performances and can capture your live audio in studio quality. We also offer optional discounts for mixing and mastering to turn those gigs into live albums!. Contact us for a custom quote and availability in your area.

Absolutely. Just bring the instrumental or backing track, and we’ll record your vocals in a professional setting.

Song production involves transforming a musical idea, generally chords, lyrics and melody, into a complete, professional track that you may hear playing on the radio or in a club. A lot more goes into this process than first meets the ear. If you need help taking your ideas to finished songs we know exactly what it takes, get in touch today for a custom quote!

You share your song idea, demo, or references. We then collaborate to build the arrangement, choose sounds, record instruments or vocals, and create the final version of the track together, providing as much or as little input as you desire.

Production timelines vary depending on the complexity. A basic track might take 3–5 days; a full production with vocals, instruments, and multiple revisions may take 2–3 weeks.

Yes! Whether you have a rough idea or a finished demo, we can step in to co-produce, add instrumentation, arrange the track, or handle the full production from scratch.

You’ll be involved every step of the way. We welcome your input on structure, sounds, and overall direction to make sure it aligns with your vision.

We have a wide variety of virtual instruments, synthesizers, drum kits, guitars, bass, pianos, orchestral elements, and more. We can also record live players upon request.

Absolutely. Our entire production workflow is optimized for remote collaboration. You can upload your demos, reference tracks, and notes online, and we’ll work closely with you via email or video chat throughout the process.

We are able to offer dedicated 1 to 1 support for artists including online presence, social media, distribution, songwriting, production, home recording, music tech advice, marketing, and gig booking. We can also provide offers on graphic design and web development from our trusted partners over at Cambridge Designworks. Our Artist Mentoring programme includes personalized feedback, production guidance, songwriting support, and career development advice. Whether you need help polishing your sound or navigating the music industry, we tailor sessions to your goals.

We offer beginner-friendly mentorship, technical advice, basic production tutorials, and guidance on your first releases. We can help you understand mixing, mastering, and songwriting from the ground up.

We provide advanced production and arrangement feedback, marketing and branding strategy sessions, and detailed reviews of your mixes to help you achieve a professional, competitive sound.

Our free song/production reviews are 30 minute online video call meetings focusing on one song.  We can provide feedback about our first impressions, the song structure and production values, discuss any minor tweaks and additions that will enhance the production, answer any questions you may have about your production from a neutral outside perspective, and generally advise on how ready the production is for mixing. You’ll receive a detailed critique covering arrangement, production quality, songwriting, vocal performance, and commercial potential. We also include tips for improvement and next steps.

To prepare for your song/production review you will need to send us your audio file by attaching a sharing URL when you book your appointment. If you require a guide on how to get a sharing URL for your files we have a detailed description here. If you face any problems in this step please get in touch. Once your meeting is booked you will receive a confirmation email with the link to join your video meeting and a calendar event that you can add to your calendar with a single click. Please join your video meeting using the link 5 minutes before your scheduled appointment if possible, to make the most of the short meeting time!

You can absolutely submit a work in progress. Many artists use our reviews to get feedback mid-project and refine their sound before finishing the track.

There’s no limit! You can book reviews as often as needed, whether it’s for new songs or iterative feedback on the same project.

At this time we do not offer such tutorials, there is a plethora of fantastic information available across the internet on these subjects already and we focus our time on mixing and mastering music over content creation.

Yes! We assist with melody writing, lyric development, structure refinement, and production direction. Whether you’re starting from scratch or refining a draft, we’re here to collaborate.

We have a network of session musicians available for hire—guitarists, vocalists, drummers, and more. Let us know your needs, and we can get the talent!

Absolutely. We offer ghostwriting and co-writing services in various styles. You’ll receive fully written lyrics and melodies, optionally with demo vocals and instrumentals.

Yes. All ghostwritten tracks come with full rights transfer—you’ll own 100% of the song and can credit it however you choose.

Our team covers a wide range: pop, R&B, hip-hop, electronic, rock, indie, soul, and more. Let us know your desired genre or send references to guide the writing.

Absolutely. We love collaborating! You can join live writing sessions remotely or give feedback during the process to make sure the song reflects your vision.

Audio restoration is the process of cleaning up recordings by removing unwanted noise, hum, clicks, distortion, or background interference to improve clarity and quality. If you have a file that is damaged by digital clipping or has a lot of background noise or hiss, we can restore it for you. You might be surprised with modern technology what is possible. 

We can address background noise, hiss, clipping, pops/clicks, distortion, phase issues, uneven levels, and more. Results vary based on the original audio quality, but we’ll always aim for the best possible outcome.