1. Exporting your files:
If you recorded in Pro Tools:
Alwyn works in Pro Tools so if you recorded your project in Pro Tools, simply tidy up the session, name the channels & session files sensibly, bounce down any software instruments that Alwyn doesn’t also have on his system, zip into one folder and “wetransfer” it to alwynmix AT gmail DOT com. Don’t forget to include reference material so Alwyn knows what kind of results you’re hoping for!
If you used a different DAW:
Please follow the instructions below: (it MAY be possible to export your project as an OMF file which Alwyn could open but it’s worth trying one first as it doesn’t always work)
File Types & Resolution
Alwyn prefers to be sent WAV files at the same bit depth and sample rate that they were recorded at.
WAVS Starting together
Please ensure all the WAVs start at the same time. In Pro Tools the process of glueing silence to the start of some of the channels whose WAVS don’t begin at the very start is called consolidation. This ensures that when imported into Pro Tools all the WAVS play their parts in the right places. Otherwise the screen looks like Tetris on it’s side.
Naming Tracks / WAVs
One pet hate of the mix engineer is for all the WAVS to be named “song name - channel name” as they all display identically in Pro Tools and all need to be renamed. Please ensure the channels are named basically (kick, snare, vox etc…) and/or descriptively (end solo, end solo harmony etc…). One thing that’s particularly nice is to name the overhead drum mics (commonly OHL, OHR) based on their proximity to hihat and other elements of the kit (giving you OHhats and OHride for example) Same with room mics.
Soft Synths / Plug-in Instruments
Whatever DAW you’re using please ensure you supply your MIDI tracks / Instrument tracks as Stereo Audio. Feel free to include the MIDI as well just in case that’s of use to the Mix Engineer.
For a hiphop album Alwyn was mixing he was recently given (for each song) a folder full of dry WAV files (with no fx) and another folder where each WAV had its fx printed into it. Alwyn was able to start with the WAVs that had the producer’s effects on but if necessary he could replace that WAV with a cleaner/dryer one from the other folder. If this is too complicated for you, please at least supply tracks that have delays / distortion with a dry version as well as the effected version.
2. Alwyn quotes
As explained on the “How I Work” page, in order to establish the amount of work required for a mix I need to see a copy of the stems.
Obviously, the more tracks in a project, the lower the cost per track.
3. CLIENT PAYS DEPOSIT
To engage Alwyn’s services a payment of 50% of the agreed total must be made, with the second payment of 50% before handover of the high resolution files.
On longer projects Alwyn may request 3 payments (50% deposit, 25% mid-project, 25% on completion)
4. Alwyn does Mix 1
Alwyn will send a “quickmaster” mp3 of Mix 1 (bounced through basic mastering style limiting etc…) to the client’s email. This mix is for auditioning only and is not for commercial use.
5. Client Sends Feedback
For the sake of avoiding time wasting and miscommunication, Alwyn will ONLY accept
One List of changes per mix
Agreed by all band members
Please ensure the list is complete before sending to avoid wasting Alwyn’s time.
6. REPEAT STEPS 4 & 5
With all my experience and equipment I’m confident in my ability to make you happy. As a result a theoretically unlimited number of mix changes is included in the quoted price.
I want you to be 100% happy with the mix(es), it’s your music after all.
NOTE: If very specific part or effect is requested to be added it may be more appropriate for the artist/producer to create it and send it to me for inclusion.
7. Client Pays Balance
After approval of the mixes the client pays.
8. Alwyn Sends hi rez files
Once the total is paid, the files belong to the client.
The client is free to use the stems and pro tools sessions in any way they choose.
I’ll happily email Pro Tools Sessions and/or stems from my mix sessions.