Reduced rates are available for self-financed artists (without a label or distribution). Drop us a message at +27 84 720 2668 to discuss your next project. It would be our pleasure to contribute to your art.
- Stereo Mastering
- Stereo Mixing
- Stem Mastering*
- Apple Digital Masters
- Atmos Mastering
- Atmos Mixing
*Stem mastering blurs the lines between mixing and mastering. Our Stem option is perfect for artists and producers who have taken their project as far as they can, and are not 100% happy with it and need some help getting their music over the finish line.
Reduced rates are available for record labels, studios, mixing engineers, and self-financed artists (without a label or distribution). Drop us a message at +27 84 720 2668 to discuss your next project. It would be our pleasure to contribute to your art.
Stereo Mastering Rates:
- R850 or $75 per track.
Additional Services:
- Attended Sessions: Mastering rate + 20%.
- Stem Mastering: @ R1750 / $175 per track.
- Mixing: @ R2500 – 4500 / $250 – $400 per track
- Subscription Mastering: Unlimited mastering designed for labels at a reduced rate.
Immersive Rates
- Immersive Mastering @ R950 | $100 per track. || You provide the ADM BWF file (Atmos mix) + Stereo Mix for reference.
- Immersive Mixing @ R2500 – R4500 | $250 – $450 per track ||
Additional Services
All Immersive options include a binaural stereo master. It is important to release both stereo and Dolby Atmos masters, as this way the listener has a choice of which format to listen to based on which device they are listening with.
It averages from 24 hours for a single to 7 days for an album depending on studio workflow. If you have something urgent please WhatsApp and we can arrange a faster turnaround or contact our studio manager at studio@desgreymastering.co.za
- Resolution 32 Bit floating point (24 Bit TDIF or triangular dithered minimum)
- Sample rate Native sample rate you have been recording and mixing in.
- Headroom Just make the mix sound great :). Thoughtful master bus processing is always welcome.
- Plug-ins Please export the mix with all important sound processors.
- Fades Do not fade out the file yourself
- Vinyl Please send me the catalog number and pressing plant contact details.
- Stems Please export each stem with all processing including anything on the master bus that was mixed through. Files should all be the same length and labeled appropriately.
Upload to Google Drive, Wetransfer, or any file delivery service of your choice to hello@desgreymastering.co.za
As standard, we deliver multiple formats to ensure you have a proper archival of your project.
- 44-16 Folder – 44.1kHz, 16-bit tracks for CD reference
- 44-24 Folder – 44.1kHz, 24-bit for Digital Download sites where digital upload at 96kHz aren’t accepted
- 48-24 Folder – 48kHz, 24bit. If you are using the songs with video or YouTube, use these
- 96-24 Folder – 24-bit Hi-Res Mastered files for all streaming sites where possible.
- 96-32 Folder – Archival File
We keep a copy of the final approved files in multiple formats indefinitely so if you happen to need access to your master folder again please give us a shout.
Absolutely! I prefer that method. The rough master or a reference from an artist that your love is the perfect way for us to get on the same page with regard to your vision for your music.
Below are the audio delivery requirements for all recording projects. Please read thoroughly and adhere to each requirement (technically appropriate to your project) before delivering your files for Dolby Atmos.
GLOSSARY
MULTI-TRACK – The collection of individual audio tracks recorded during music production, such as vocals, guitars, drums, and other instruments.
STEMS – The collection of audio tracks processed by the mix engineer and exported with effects, such as drums, keys, synths, vocals, and other instruments.
MULTI-TRACKS
Below are the guidelines to follow when sending projects to be mixed and mastered in stereo.
- Print all MIDI, synth and/or virtual instrument tracks as audio files.
- Name each track logically (do not label tracks as “Audio 23,” etc.)
- Use labels that reflect the instrument type
DR – Drums/Percussions
BS – Bass Instruments (acoustic and synths)
KY – Keyboards (piano, organ, pads, synths)
GT – Guitars
SFX – Sound effects (risers, impacts)
VX – Lead vocals/adlibs
Naming Convention: TrackType_Instrument
Example: DR_Kick
Do not use non-alphanumeric characters such as: *?<>“| \/:+#
STEMS
Below are the guidelines to follow when sending projects to be mixed in Dolby Atmos.
All stems should:
- Be the same duration, so they can be synced up easily (recording start and end time).
- Match the tempo of the project/session, including any tempo changes.
Exporting Instruments:
- Separate out the instruments as much as possible and deliver them “wet” (with effects such as EQ, compression, and reverb).
- Drum kits, sampled or live, should be separated out, as well as delivering a stereo stem of the full kit
- Loops/Samples should be printed as separate stems and not combined with other mix elements
- For live recordings, please provide as much separation as possible for audience microphones (e.g. please don’t print all audience mics to one stem)
Vocal stem elements (lead and background) should be:
- Separated out as much as possible (Lead Vocal, Adlibs, Choir, etc).
- Deliver ‘dry’ vocal stem with tuning and processing (EQ, compression, saturation, etc)
- Deliver a ‘wet’ vocal stem with effects (reverb, delay, widener, etc).
- Tuning should be included on dry elements (Autotune, Melodyne, etc).
Below are three ways in which you can experience/ approve a Dolby Atmos mix.
Option 1: Binaural
Mixes created in Dolby Atmos can be experienced using high-quality headphones or earbuds that are capable of reproducing a wide range of frequencies. Binaural audio is designed to create an immersive experience that makes you feel like you’re in the middle of the sound. Pay attention to the sounds coming from different directions and try to visualize them in your mind. Play the file named “Binaural” and focus on the sound which enhances the immersive experience.
Note: Binaural mixes are best experienced on headphones. Do not use speakers to playback this file.
Option 2: Spatial Audio
Spatial Audio is Apple’s version of binaural audio. By using Apple hardware, this technology creates a three-dimensional sound experience for the listener, simulating sounds coming from different directions and distances, which creates a sense of immersion and depth.
Step 1
Locate the file named “Spatial Audio” and click “Share > Export File > Save to Files.” Save the file to your local storage named On My iPhone.
Step 2
Open your “Files” folder and locate the file you downloaded from Dropbox. When your file is saved to local storage, it will appear in this folder.
Step 3
Connect and pair your AirPods Pro or AirPods Max and enable Noise Cancellation and Spatial Audio Fixed. Notice the file format recognized by iOS as ‘Dolby Atmos’ under the volume slider. This ensures you are playing back the Dolby Atmos file provided by us using Apple’s Spatial Audio for a Dolby Atmos experience.
Option 3: Surround Sound
Dolby Atmos mixes exported as .mp4 files are multi-channel files that can be played back on TV, AV receivers, or soundbars with surround sound. You can experience the mix created in Atmos on a 5.1 surround sound system with these instructions.
Download the file named surround sound to a USB thumb drive.
Play the track on a home theater sound system.
On the TV remote, press the ‘Source’ button.
Then press USB Device or Connected Device.
The music should begin playing and display “Dolby Audio.”
This method allows you to preview the Dolby Atmos mix on a 5.1 home theater system, where vocals and effects are panned to the rear speakers. This gives the listener the illusion of being right in the middle of the audio, immersing them in the mix.
We offer labels a simple subscription solution to ensure a consistent and quality release schedule. For our peers in the industry who are mixing engineers or studio owners, we provide a rate to ensure that your clients’ budgets are kept in check.
