Fees for both mixing and mastering are based on the number of tracks/songs provided, which allows the approximate effort to be reflected, yet unlike an hourly rate, the total amount can be set in advance of starting the work.

All prices are in US Dollars.


Remote Mixing (per song)

  • Base fee: $100
  • Track files¹ 1-30: $12 each
  • Track files¹ 31-60: $8 each
  • Track files¹ 61+: $4 each
  • Reasonable vocal/instrument comping², editing, and tuning: included
  • Two sets of revisions included. Each additional: $40
  • Final limiting: free (optional)

Services such as comping, editing, and tuning are not available separately from mixing.


Remote Mastering (per song)

  • Album, Jon mixed it: free
  • Album, someone else mixed it: $48
  • Single, someone else mixed it: $40
  • Stem mastering: add $12 per stem (max 16)
  • One set of revisions included. Each additional: $20

Expectations

  • For the project to be put into the work queue, either a 50% non-refundable deposit of the invoice amount must be paid directly, or we’ve agreed to use an escrow service for the whole amount and payment has been accepted/confirmed on your side.
  • Turnaround time varies somewhat depending on how much work is actually necessary. Before accepting your project, an estimate will be provided for when the project can likely start, and how long it will take to finish. If the project timeframe offered is the only sticking point, please be sure to state your requirements, as some flexibility may be available.

At each step of the process, detailed information and instructions will be provided to help you along the way.

Sound good? Great! The next step is to submit a project proposal.


¹ A stereo recording provided as two mono files is counted as 1 track file. Instrument takes to be comped all contribute to the track count, not just as a single track. For best results, disparate instruments and microphone perspectives should be provided on separate tracks; however, pre-mixes such as supplemental drum loops and multiple microphone perspectives of the same instrument performance (usually guitars) are acceptable. Please avoid providing tracks that contain both an instrument and added ambient effects, particularly delay and reverb, as this may negatively affect the end result. To provide examples for a particular sound, include both the dry instrument track and a second track that contains either the effects by themselves, or a combination of the instrument and effects — the extra track won’t count towards the number of paid tracks. Please ensure all tracks are clearly named.

² Revisions solely related to choice of take(s) for performances that were comped will not be accepted, as that defeats the purpose of the service. If that sounds uncomfortable, it’s probably best to work with the producer to comp prior to submission for mixing.