FAQs

A stem is one piece of your song exported as its own audio file: the lead vocal on one, the bass on another, and so on. You’ll upload them through a private link we send, along with a short export guide for whatever software you recorded in. If you’ve never done it, the guide should have you finished before your coffee gets cold.

Not at all—that’s half of why we exist. An untreated room quietly lies to you, mostly about the low end, so you end up making smart decisions on bad information. We remake those decisions in a calibrated room, and your song finally sounds right everywhere, not just where you made it. Recorded it in a bedroom? Good. Plenty of great records started in one.

That’s where we spend most of our attention. Expect pitch correction only where it’s needed and never where you’d hear it, timing alignment that stays human, dynamic control so the soft parts and the big parts belong to the same song, and the right amount of air around all of it. Your breaths and your grit stay. They’re usually the reason people believe you.

That’s exactly what we mix for. We can’t choose which editor or music supervisor says yes. What we can do is make sure the mix is never the reason for a no: a record that sits comfortably next to the biggest songs on an editorial playlist, meets the technical bar for sync, and translates on every streaming service and every speaker, from a phone to a club system.

Yes, and it’s some of our favorite work. Clutter is usually a frequency problem, not a talent problem—too many elements circling the same sonic parking space. We carve room so every layer can be heard and the blend reads as intentional.

No. A human mixes every song from the first fader to the final print, and you’ll talk to that human. We use plenty of software, Pro Tools and a deep bench of plugins included, but every decision that changes how your song feels gets made by someone who has actually listened to it. Tools are welcome in the room. They just don’t get a vote.

Enough. The first mix starts a conversation, and a sensible round of tweaks is always included. We’re after the version that makes you grin, not the one that gets us off the phone fastest.

Usually a handful of days per song, depending on the queue and the complexity. Cost depends on scope; a sparse acoustic ballad and a ninety-track epic aren’t the same animal. Send what you’ve got, and we’ll come back with a straight quote. Working against a deadline? Ask about rush turnaround.

Either. The quick version: mixing balances the parts inside your song, while mastering finishes the song as a whole, setting its final tone and level so it holds up next to everything else on a playlist. We can do both, or mix it and hand it to your mastering engineer. Not sure which you need? Ask, and we’ll point you the right way.

Release-ready audio in whatever format the destination calls for, whether that’s streaming distribution, vinyl, or a sync library. Tell us where it’s headed, and we’ll send it dressed for the occasion.

Yes. Your rights stay entirely yours; nothing about hiring us changes who owns your song. Client work stays private, too, and we never share or post it without your written permission—which is why the Listen page uses licensed demonstration mixes. If your label or manager needs an NDA signed, send it over. Our confidentiality is tighter than a snare on a hit single.

Absolutely. Send a rough cut or book a quick call, and we’ll tell you honestly what we hear. Worst case, you walk away with free notes on your song.