Great mixes are
felt, not heard.

Two things. First, your audio: either the individual stems (each track exported separately) or your full Pro Tools session. Second, a reference, meaning your rough mix, demo, or whatever version you've been living with. That rough is how I confirm I've got the right files and the exact version you approved, so nothing gets lost in translation.

I work from a set per-song rate, so you always know what to expect and never get a surprise invoice. The one time that opens up is a project with seven or more songs. That doesn't guarantee a different number, but it's the point where it's worth a conversation. Send over your project and I'll tell you exactly where you stand.

Every mix includes up to five rounds of revisions, which is almost always more than enough to land it exactly where you want it. Minor tweaks don't count against that, and if you add new parts or tracks, that's a fresh pass rather than a revision. If a song genuinely needs more than five substantial rounds, I'll be honest with you: it usually means we're chasing something another engineer is better suited for, and I'd rather say so up front than spend your time and budget.

You receive two sets of files. First, mixed stems, meaning your song broken back out into individual and grouped tracks. Second, pre-masters, the final files you'd send off for mastering before release. The pre-masters include the Main (a.k.a. the 'dirty' mix), a Clean version when your song needs one, the Instrumental, the Acapella, and a Performance mix (also called a TV mix, for live shows, TV, and sync). Mastering is a separate step I recommend but don't require.

Mixing only, but in both formats: standard stereo and immersive Dolby Atmos. I don't master in-house, since that final step benefits from fresh ears and a dedicated mastering engineer, though I'm glad to point you toward people I trust.

On average I'm booked about three weeks out, and my calendar is built for exactly this. I keep up to two fast-turnaround slots open each week for a two-day return, so if your single has a tight deadline it goes into one of those slots and comes back quickly, with room to spare for any updates before release. Communication is constant. If I don't hear from you for a day or two, I'll reach out so nothing slips, and once you send notes you'll have my revisions back within 24 hours. You won't be chasing me.

Happy to work under an NDA whenever your team needs one; just send it over. You and your artist own the music, and the mixed files and stems are yours. I keep an archived copy of the mix session for recalls and future revisions, purely so later tweaks stay fast and seamless.

Absolutely. The standard of work doesn't change with the size of the budget; every song I take on gets the same ears, the same care, and the same chase for the emotion inside it. On top of that, I occasionally take on passion projects, music and artists I believe in strongly enough that the work feeds something in me. Those are selective, but they're real. So if you're independent and pouring yourself into something honest, tell me about it. I'm listening.

My credits speak to the competitive side; I've contributed to a lot of records that have charted, and it's genuinely rare that a project and I turn out not to be the right fit. But the real work isn't technical. An A&R hears a song and sees what it could become, and my job is to connect with the song that same way, as deeply as the artist or producer does, then bring that vision into focus. Matching a reference and holding a consistent sound across a whole project comes out of that connection, not plugin presets.

My goal is never to impose myself on a song; it's to bring out what you already produced into it. I think of myself as the producer's producer: you brought the groove, the tones, and the vision, and I come in to clear away what's clouding it and emphasize what grounds it in its emotion. I listen to the hands that made the music as closely as I listen to the music itself, so when you give me feedback, I take it in fully. Honestly, a great producer or artist makes me a better engineer.