To submit files for online mixing, please follow these simple step-by-step instructions. If you are not comfortable with the basic use of a DAW (digital audio workstation) it would probably be best to consult the help of a professional to ensure proper file delivery.
1. Make sure you have chosen all of the proper takes and eliminated any audio or tracks that you do not intend to have in your mix. It is very important to only include tracks that you intend to be in the mix. Also be sure to render any MIDI parts into audio files. Check the manual on your specific software platform to find the proper way to do this. In addition be sure to render any effects such as reverbs, delays, chourses, flanges, harmonizers, etc. that you want me to include or consider using in the mix. This process is similar to rendering MIDI and basically must be internally recorded as audio. Check the manual for your software.
2. Make sure all editing is complete and cleaned up nicely. The best way to do this is to trim all audio regions neatly at the beginning and end of the regions. Make sure to leave a little space in each region before the waveform starts and after the waveform ends. If you have done any punch-ins, make sure that the punch has not cut off the beginning of a waveform. This is especially important with drums. At each region separation in the session, it is a good idea to zoom in a good deal and look at what is happening right at the separation. If you see waveforms that are jagged, or worse a drum transient that has a punch right in the middle of it, simply trim the region forward or backward until you find a nice crossing point. Drums should always be edited as a group so you don’t accidentally change the timing of one track. When editing vocals, be sure to zoom in closely at each separation and make sure no words or breaths are cut off. Make sure to include breath noise in the track. Be sure that you have not punched in the middle of a breath and if you have, trim the region so only one breath occurs before each phrase.
3. After you have cleared all regions and made all your edits are clean and place in appropriate places, it is time to start to disappear. Highlight all audio regions in your session and batch process fades. Each program must have a similar option. You must select a normal crossfade, 5-10 milliseconds. There is usually an option that says "replace existing fades." Make sure that this is not selected as you may have built a custom disappears when editing. After selecting the appropriate type of fade length and hit OK or process. This process will create fade-ins and extensions in all regions at its meeting eliminating any accidental clicks or pops in the audio caused by edition. This process terminated immediately consolidate your audio for greater security.
4. Once all of the regions have fades, highlight all audio across all tracks in the session starting at the very beginning of the timeline (0:00:00) and ending just past the very last region in the song. For example the song may be 3:59 but the first sound doesn’t enter until 6 seconds in because there were 2 bars of count-off. It is very important that your highlight all tracks all the way from zero (0:00:00) even if there is no audio that starts at zero. This will ensure that all the tracks will remain in sync when you send them to me. Also make sure you have left enough space at the end for any sounds that are fading out. Sometimes you will not be able to visually see a waveform but will still hear faint sound like a guitar or piano fading out.
5. Now you must export each individual file into a new folder that is named as the title of your song on your hard drive. Almost every audio recording program will have an export function usually located in the File menu. In Pro Tools the easiest way is to highlight all the files in the edit window and press SHIFT+COMMAND (apple)+K. This will bring up the “export selected” dialog. It will give you the option to choose the file type, sample rate, bit depth, and location for the export. It will also let you create and name a new folder to export to. You must always select the same file type, sample rate, and bit depth that the session was recorded at. You do not want to accidentally down-sample or dither the files. Generally speaking audio is recorded as either .WAV files or .AIFF files. Either is fine. Do not send MP3’s! If you do not know the sample rate or bit depth, there is usually a window called “session setup” or something similar that will contain this information. In Pro Tools it is located in the Window menu as “session setup”. Once you have selected the appropriate export settings, hit OK and export the files. This will save all of the tracks in the song as individual files in your folder.
6. If you have already saved your project in PRO TOOLS: In your sessions please label all track strips as clearly as possible. For instance, if there are lead and backing vocals you could label them Voc 1 etc., and BVoc1,2,3 etc. For instrumental parts just be as clear as possible. There is also a place for notes in Pro-Tools in the edit screen. Go to VIEW - EDIT WINDOW - COMMENTS; here you can make any notes for yourself and the mix engineer.
Before saving a copy of your session it is good to get rid of clutter. Go to the right of your edit window and click on the bottom corner of the screen. This will open the audio files menu so you can see everything you have done so far. When you are ready to save your project for mixing go to the region list at the top of the audio files. Choose SELECT - UNUSED AUDIO EXCEPT WHOLE FILES. All of the files that you are no longer using will be highlighted. Now, from the region list select CLEAR. A new dialog box will appear, click REMOVE. You have now removed 90% of the clutter in your session.
7. Don't use any encryption or password protection on the .ZIP file.
8. We have a special account within the GOOGLE DRIVE, but if you prefer to use another method, feel free, just let us know so we can find your project quickly.
We work with files between 24 to 32-bit and 44.1kHz to 96Khz.