Prepare your project for mixing

In this article, we present 5 important points that you as a producer or artist should consider when submitting your project for mixing. This is to optimize the conditions for the mixing to turn out as you expected. By following these steps and recommendations on how to prepare your project for mixing, you will not only be perceived as professional and friendly, but also increase the chances of the mix meeting your expectations.

Book Mixing

1. Export Stems (or multi tracks)

Whether or not you’re working in the same DAW (audio software such as Logic Pro X or Ableton), it’s common for you as the producer to send the mixer stems—or multitracks—from your project. Multitracks are all the individual tracks that together make up your song, and stems are those tracks grouped together. To clarify with an example: the stems for a certain song might include one stem containing all the drum sounds, whereas the multitracks for the same song would have a separate file for the snare drum, one for the kick, one for the cymbals, etc. Whether you choose to export stems or multitracks from your production, we recommend that you quickly double-check the best way to do this in your specific DAW. YouTube is your friend here—search for “Exporting stems/multitracks in [your music software]” on YouTube. You’ll almost certainly find a good video showing you exactly how to proceed.

1.1 Timing

Even if not every track in the song starts playing right at the beginning of the song, you want all stems/multi tracks to start where the song starts. This is so the mixer doesn’t have to guess where you want all the sounds (instruments and vocals) to begin. When you’re done and open your exported stems, all files should start and end at exactly the same time.

1.2 Naming

Each stem (audio file) should have a clear name so that the mixer knows what is what. This allows more time to be spent on mixing instead of organizing. The better you succeed with this, the better conditions your music will have because it minimizes the risk of misunderstandings.
An example of names for audio tracks: vox_lead, drm_kick, egtr_solo, str_legato. The exact names are not the most important thing, but rather that you are consistent.

1.3 Effects

Whether you should send stems/multi tracks with or without effects is entirely up to you as a producer or artist. More effects = less of an opportunity for the mixer to work creatively with your stems/multi tracks. A good rule of thumb is to export without effects like reverb and echo. Of course, if you consider them to be an essential part of the sound, you should include them.
Exporting with pitch correction on vocals and, for example, compressors and EQs is common and completely OK. However, this is often done in the mixing phase as well. The important thing is to be clear when you communicate with the mixing engineer. This helps avoiding misunderstandings that can unnecessarily prolong the process.

1.4 Format

If nothing else is agreed upon, you can use the following specifications regarding the format and resolution of the audio files.

• • File format: wav.
  • Sample rate: 48kHz
  • Bit rate: 32 bit (floating point)

2. Rough Mix, References, and Information

2.1 Rough Mix / Demo Mix

A rough mix along with a brief description of what you like and dislike about this rough mix helps the mixing engineer. This rough mix and descriptions makes it easier for the mixing engineer to understand what direction you want to take the song in. It also gives us insight into what you as a producer/artist have been listening to before handing over the song to us. This, in turn, helps avoiding misunderstandings and increases understanding of your musical ambitions.

2.2 References

It is not required, but it is recommended to include at least one reference song that you want us to draw inspiration from when mixing your song. This could be either an audio file of a finished song or a link to the song on Apple Music / Spotify / YouTube. These can help explain, for example, “this is how I want the bass to feel” or “this is how loud the drums should be.”

2.3 Information

To minimize the risk of misunderstandings and maximize the time the mixing technician spends on your project, we recommend including a PDF or text file. In this file, you can summarize:

• • Your thoughts/ambitions/expectations for the mix
  • BPM
  • Key
  • Link to reference song

Here, you can also include any other information that you think is important for us to consider. In all music projects at KMR, free video/phone meetings are included, where you have the opportunity to express this as well. The recommendation is to include the documents and take advantage of the planning meeting offered. 

3. File Transfer

3.1 Ordering

Being clear about your expectations for the mixer’s work always improves the final result—so make sure to explain what you expect from the mixing right when you place your order; this makes the whole process easier for both you as the artist/producer and for the mixer. Also be clear if there are deadlines or other preferred delivery dates. If you do this, and turn to KMR to have your music mixed, we can give you a preliminary delivery date in our first reply to you before you decide whether or not you want to hire us.

3.2 Transfer

When working with KMR Studios, we always provide you with a personal upload link. That way, you can securely upload files to your personal folder in our system. We always archive (save) all material in all our projects for at least 2 years after the project is completed. This is done so that you can be confident that nothing will be lost. 
After you complete the steps above, we recommend that you compress the folder with all the files into a .zip file. It is this file that you upload. This makes it easy for us to ensure that we have received all your files. It also minimizes the risk of files being damaged during the transfer.

4. Feedback

4.1 Feedback

When giving feedback on your song, you should do so in writing. Try to be as specific as you can, especially when it comes to timing references for sounds in the mix. Instead of saying “the guitar at the end of the first chorus,” say “the guitar at 02:13.” If you turn to KMR for a larger music project, we use an application called Samply to communicate feedback; in this app, you can easily timestamp your comments, ensuring clear communication between the mixer and the artist/producer.

In Conclusion

If you follow the above steps and recommendations on how to prepare your project for mixing, you can be confident that you have given your music the best prospects. The rest is now up to the mixing and mastering technician.

A few key points about what mixing is not:

• Mixing is not production. As someone ordering mixing, you should not expect new sounds to be created. You are free to express your wishes, but it is up to the technician to assess whether it is reasonable to include them.
• Mixing is not a sounding board. Mixing is not intended to be a step where you get a new perspective on the mix and then continuously send in new files and ideas for production. The production phase is where exploration and experimentation take place. Mixing is about bringing together what has been produced in the best possible way. However, as a producer/artist, you are welcome to send your rough mix to us for free feedback before booking mixing. That way, you can use us as a sounding board. But once the mixing has begun, it is recommended to let the mixing technician handle the mix. 

Book Mixing

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