Mixing
Where the record
comes together.
Stereo, Dolby Atmos, or both, mixed in my own room in the Bay Area. First mixes in about two to three days a song.
Why I mix
The best part
of the job.
Mixing is one of my favorite things to do. I love assembling all the ingredients to shape how a listener responds, whether that’s an emotional reaction or just a head nodding and a foot tapping.
Whether I recorded the song or you’re sending it from somewhere else, the job is the same: get it to the version you hear in your head, then a little past it.
How it works
Send it, hear it,
sign off.
Turnaround
First mixes in about two to three days per song.
Remote approvals
You hear mixes through my private approval server or Samply and send notes from wherever you are.
Revisions
Three rounds of revisions are included. After that, further revisions are $85 an hour.
Live revisions
I love going over revisions on a video call. Talking in real time is faster and clearer than a page of notes, and we can make changes together live over video with shared audio. When a song needs it, we can also sit down together in my room.
Dolby Atmos
Stereo, Atmos,
or both.
Atmos now plays in cars, on soundbars and on any pair of headphones through Apple Music, Amazon Music and Tidal. Taking both formats together is the cheaper path: $1,300 a track bought separately, $800 together, mixed from the same session so both versions carry the same decisions.
It’s also easy to get wrong. A mix made only on headphones can fall apart on speakers, and the fold-down can bury parts that sounded fine. I mix Atmos on a Dolby approved PMC 7.1.4 system in my own room, tuned by Jonathan Lessner and Erik Foreman and run through a Grace Design m908. Ask whoever does yours what they monitor on.
Estimate