Since transferring big files takes up a lot of data we prefer to receive your mixes through Wetransfer or any other file transfer service.


We accept WAV and AIFF files only.

24 bit 48KHZ files will be sufficient for the mastering process, higher bitrates and sample frequencies are ok but not neccessary.

Headroom is the physical space left in your mix for the mastering process. We need some space to work with so we can give you the best sounding end result.

We advise to deliver your mixes with a maximum peak level of -6dB

In order to get the best master possible we strongly advise: never  use compression on the master bus during the mix process. 

Titles, timing and more

Send us as much info on your track as possible. First the order in which you want the titles to appear on your cd or vinyl. Then we need the time of each song, the composers and text writers and if available the ISRC number for each track.

For vinyl, clearly mark your songs for the A or B side, example:  the way I mix-A1
The way to master- B2

See also  the section about vinyl

Things to consider when mixing for vinyl 

To get the best sounding results when pressing a record, you need to consider the physical limitations of the medium before you mix. Here are some tips for maximizing the sound of your record, the first time around. When pressing vinyl, you’ll trade off program length versus audio quality, so begin by determining how much music you want on each side of your record. An LP typically holds less than 30 minutes of music, and the width and spacing of the grooves plays an important role in the sound quality of a vinyl record.

When pressing vinyl, you’ll trade off program length versus audio quality

However, wide grooves take up physical space, so you’ll need to keep the timing of each side short if you want maximum volume.

Speed also plays an important role. Like analog tape, the faster the vinyl media moves, the better the sound reproduction will be, but the more media you’ll need. For example, the hottest playback signal will come from a 12-inch pressing at 45 rpm, which is one reason why it’s the preferred format for dance music. However, the optimum program length of a disc at that size and speed is around 9 minutes per side—great for an extended remix, but not much for a full album. Even with a maximum length per side of 15 minutes at 45 rpm, it may not offer enough time for your project. At 33 1/3 rpm, a 12-inch yields a maximum length of about 22 minutes per side, although the optimal length is around 14 minutes.

The lows and the highs

Loud high frequency sounds are dangerous to the cutting equipment. They may also not play correctly due to physical limitations of the system. You MUST understand this when mixing for vinyl. Treble frequencies distorts before bass frequencies on vinyl. The stylys has problems tracking extreme highs.

“Make the Bass mono”

Make the bass mono when mixing for vinyl. Always and absolutely. With bass, and we don’t only mean the bass line, we mean all low frequencies: The bass line, the low end of your drums, percussion, any bassy effects, etc. No panning, no stereo effects. Make it mono.

With stereo bass content the needle has to do big vertical movements which easily results in skips.
Also the record will have to be cut quieter.

Don’t let anything get out of phase. Even if you think it sounds cool. Check the mix in mono – out of phase material will cause cancellation of frequencies. Steer clear of psychoacoustic stereo enhancers. Phasing results in cancellation of frequencies. The cutting equipment is unable to reproduce that. Out of phase material makes the cutting head try to pull in two different directions at the same time. The result is a skip.

If you are in doubt how to deliver your mixe(s) just drop us a message!



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