How to prepare your files

Before anything else, one of our main goals, aside from elevating the production to its full potential, is to make your life easy. So everything on this list is just that, suggestions.

Feel free to send your files however works best for you and whatever you're used to, and we'll do our best to deliver an incredible mix with whatever you send us.

If we run into any issues, or if we think there's an opportunity to make something even better with a different file, we'll let you know.

With that said, here are our suggestions, reach out if you have any questions:

The ideal scenario is having a Pro Tools session that sounds identical to the last rough mix everyone involved in the production heard and approved. If you don't use Pro Tools, click on "Other DAWs" below.

Avoid Google Drive: It frequently causes issues with large sessions. Ask us for a private link to upload your files directly to our server.

  • The ideal scenario is having a Pro Tools session that sounds identical to the last rough mix everyone involved in the production heard and approved. This allows me to start where you left off and not lose all the valuable progress you made during production.

    If you have active plugins, use the "freeze" option on those tracks.

    For tracks containing pitch plugins like Melodyne, Autotune, Waves Tune, Metatune, etc… it's very important to either use "freeze up to this insert" or "commit up to this insert". Autotune continuously has issues and loses its settings, so this step is very important.

    If you're not sure whether to leave a plugin on or not, you can use the track comments to let me know, but leave all plugins that are active in the last approved bounce.

    Once your session is ready, go to the "File" menu and click "Save Copy In". In the next window, under "Items To Copy" select "Audio Files", click "Ok" and send us that folder. This way you make sure Pro Tools makes a copy with all the audio files needed for the session to be complete.

    Also send us the last bounce of the rough mix that everyone involved in the production heard and approved.

  • If you don't use Pro Tools, the instrumental tracks should ideally be printed with all processing. If you're not sure about the processing you currently have, you can send me 2 versions of those tracks and name them WET (with all processing) and DRY (with no processing).

    Example: - Kick 1 WET - Kick 1 DRY

    For lead vocal tracks, the best approach is to send both versions: one processed, that sounds identical to the rough mix, and a DRY version with only the pitch plugins like Melodyne, Autotune, Wavestune, etc… already printed and nothing else.

    Also, if possible, it's always helpful to have all time-based effects (reverbs, delays, etc.) printed on separate tracks.

    Example:
    - Lead 1 (processed)
    - Lead 1 DRY (with autotune printed)
    - Lead 1 Reverb
    - Lead 1 Delay

    Also send us the last bounce of the rough mix that everyone involved in the production heard and approved.

    Along with the files, feel free to also send your session. It's not necessary, but I have most DAWs here, so if we need to export anything additional, we can open your session without having to bother you. If your DAW has a function similar to Pro Tools' "freeze" or Ableton Live's "track freeze", use it on all tracks that have plugins."

  • For mastering, ideally send us your final mixes in WAV or AIFF format at the original sample rate and bit depth the mix was worked in.

    If your mix is limited, send us 2 versions: one exactly as everyone involved in the production heard and approved, and another version without your final limiter or limiters.

    If we're mastering an album or EP, include the track order and final song titles if they're already decided.

  • For Atmos, we need the final master to use as a sync reference and the stems of the final mix.

    Ideally, when placing the stems in a new session, they should sound identical to the final master. This isn't always possible due to processing on the mix bus or other buses, but in general there shouldn't be any significant differences. For example, a vocal with no reverb, or the balances between instruments or the overall feeling being completely different from the master.

    Keep in mind that the more separated the stems are printed, the more we'll be able to take advantage of the space the format offers.