PREPARING THE TRACKS
The short version: Send me audio-only tracks that all start at the same "zero" point and continue until the song (or part) ends. Do not send "session files with regions or clips" that need to be placed in any kind of a grid. Do not send midi. Please reserve stereo tracks for sounds that are actually stereo rather than identical on both sides.
The long version: Mixing in a computer is different from mixing on an analog board. Software versions play leapfrog with each other. There are different factors that go into which software I will use to mix a particular project. For these reasons, please prepare your song files so it will be possible for me to jump around from software to software easily.
YOU MUST PRINT ANY EFFECTS THAT YOU FEEL ARE IMPORTANT, SUCH AS "AUTO-TUNE". I MAY NOT HAVE THE SAME VERSIONS THAT YOU HAVE BEEN USING AND THE SOUND MAY BE DIFFERENT.
ALL TRACKS SHOULD BE CONTINUOUS AND START FROM THE SAME POINT (EVEN IF THAT MEANS LARGE SPACES OF SILENCE FOR TRACKS THAT ONLY PLAY AT THE END OF A SONG).
** YOU MUST CHECK YOUR TRACKS BEFORE SENDING FOR CLICKS, GLITCHES OR OTHER PROBLEMS.
I will mix the tracks you send, but can not change parts (cut up or move parts around, fix performance timing, auto-tune, or replace tracks with new parts).
Once a song is mixed, changing a part is like changing the shape of a piece in a completed jigsaw puzzle. Sometimes it is necessary to take part of the puzzle apart or even start over.
ALL SONGS MUST INCLUDE CLEAR UNDERSTANDABLE TRACK NAMES (what is the part, not just the track number) AND OVERLY DESCRIPTIVE DOCUMENTATION AND COMMENTS.
Give me "too much information": I was mixing for the Rinken Band, and Rinken asked me to fade an arpeggio in and out. When I did he said that it was not right. So I tried it again and he told me it was not what he had in mind. At that point I stopped the tape, turned to face him and asked him if he could better describe what he wanted. He told me to imagine a row of tall hedges with a boy in a yellow shirt running on the other side. You can't see through the hedges, but sometimes you see bits of his yellow shirt peeking through. I thought this was a brilliant image, and I immediately rode the arpeggio exactly like he wanted.
HOW TO PREPARE PROTOOLS FILES FOR MIXING:
** Always work with a copy of your project **
PREPARING THE BUDGET
WHAT IS A GOOD RATE FOR STARVING ARTISTS OR LOW BUDGET LABELS?
I am currently working on several projects at different rates. Obviously rate is a factor when I decide what I will do on a given day, but so are project deadlines and even my particular mood (Jazz, Reggae, Rap or Hardcore?). I do get around to all projects with reasonable rates. So how can YOU figure out a good rate to offer for your project? This may help:
"LOW BUDGET LABELS AND "WELL-FED ARTISTS":
Recently there has been an increase in mid-budget work, which follows similar guidelines except for more time to perfect the mix, higher priority scheduling and other advantages.