Mixing and Mastering Special

Mixing and Mastering At Unbelievable Prices

Where Else Will You Find Mixing and Mastering This Cheap?

Check Out Our Mixing and Mastering Price Slashes And Get In Touch With Us Today!

mixing and mastering

These prices are unheard of! If you are an artist trying to get your CD or single ready for iTunes, radio or label submissions you’ve just stumbled onto the PERFECT opportunity. We are cutting prices that is literally unheard of when comparing pricing to quality. That’s right were cutting prices on our mixing and mastering prices. You may be asking, “how come so cheap, is the quality the same?” We’ve always been and will remain to be a 100% supporter of this Indie movement. We understand the REAL meaning of starving artists and we’re trying to make things as easy as possible for you. We’d much rather hear high QUALITY music from artists instead of low quality due to not having the appropriate budget to pay for quality mastering or mixing. The PRICES are diminished but that doesn’t mean that the quality is degraded in any way. SAME QUALITY, LOWER PRICES! If you don’t take advantage of this opportunity you are literally losing your mind. The same quality tracks at these type of prices? Who Does That? We do here at Dubb Spot Records and you can take advantage of it today. If you don’t believe that our prices are slashed look at our original prices here. We know we’ve kept you in enough suspense and you want to know the reduced pricing right? Okay, okay, no more suspense. Scroll below to see our price SLASHES!

Mixing And Mastering Price Slashes

mixing and mastering

Mastering of a FULL Track Including All Audio Channels Including Mix-Down.

This includes the mixing and mastering of your full session including all of the audio channels. You’ll need to provide us with each tracked out sound at a decibel of no higher than -6db. If your tracks are distorted we will not be able to make them sound high quality. What will happen is the distortion will be enhanced once mastered and you don’t want that and neither do we. So make sure you only submit tracks that are at a -6db level. You want a quality sound right? If you don’t know what we mean, please contact us first before purchasing this opportunity. Also make sure that there are absolutely no effects at all on any of the tracks. We need them dry. That means no eq, no compression, no NOTHING! We want to make this as easy as possible for the both of us! All files need to be a minimum of 256 kbps wav, aiff or mp3.

** IMPORTANT ** Please contact us about your project before purchasing.

One (1) Track Mixing and Mastering
One (1) Track Mixing and Mastering
Get One Track Mastered Including Mix-Down Of All Audio Channels.

 

mixing and mastering

Mastering of Already Mixed-Down Tracks

For all tracks it includes the mastering of a track that you send us that is already mixed down and ready to go. Again your track must be dry, meaning no eq, compression, no type of effects at all. All tracks must be sent at a decibel of -6db and must be a very clean mix. Make sure all of the sounds in your tracks within the mix are tonal balanced and are accenting one another. Which means you can hear every sound without the next one drowning out the other. If your track is not mixed down good the master will enhance every flaw within the mix. We are not responsible for the sound of your existing mix. If you can’t mix it down right, take advantage of our mixing and mastering special above or order our mixing and mastering tutorial here. Please remember that mixing and mastering is not the same. These prices are for mastering only. All tracks must be a minimum of 256 kbps wav, aiff or mp3.

Samples:

NBL-unmastered

NBL_mastered

 

** IMPORTANT ** Please contact us about your project before purchasing.

Mastering of One (1) Track
Mastering of One (1) Track
Mastering of One (1) Mixed-Down Track. (track must be mixed already)

Mastering of Three (3) Tracks
Mastering of Three (3) Tracks
Mastering of Three (3) Mixed-Down Tracks. (track must be mixed already)

Mastering of Whole CD Up To 13 Tracks
Mastering of Whole CD Up To 13 Tracks
Mastering of a Whole CD Up to Thirteen (13) Tracks. (tracks must be mixed already)

If you are a Recording or Mastering Studio and you are overloaded with work and can’t catch up, we will take on your projects for the same prices outlined above. Please make sure that the files are sent as suggested or we cannot help you with your projects. Just to stress it one more time, here are the requirements when considering having us mixing and mastering your tracks.

Only send wav, aiff or mp3 no less than 256 kbps

Only send tracks that do NOT have any effects at all including eq, compression, etc.

Only send tracks that are tonal balanced and/or mixed very well. (If not order the mixing and mastering special).

For any inquiries about our mixing and mastering special please contact us at sales@dubbspotrecords.com or 443-864-7679.

ORDER ONE OF OUR MIXING AND MASTERING SPECIALS TODAY!!!

 

Mixing Your Music

mixing

Mixing That Music Right!

We receive numerous tracks that are mixed vocals against an mp3 track. STOP! This is not the way it is supposed to go down!  There are numerous factors
involved that will make your Engineer kiss you, a big wet one right on the lips…lol. Well not really. But they will respect you at the end of the day. Here are
some Dubb Spot suggestions.

  • When you obtain a beat from a producer or you are the producer, use/request the whole session. Very important! Make sure that every sound within the beat is on its own audio track. Kick – trk.1 Snare – trk.2, Hats – trk.3, etc., etc.

  • Add your vocals to that session making sure that your vocals are coming in at a level that is not clipping (too loud). -6 is a good level or even -3 but no higher than that! If you record in crap, it’ll come out as crap. Record your main vocals, backgrounds, adlibs, and intro/outro (if applicable). Note: If another studio mixes your music, recording against your mp3 track is fine. You only need the vocals at this point.

  • While mixing your vocals with the session files (Remember them? The separated files?) , keep an eye on your master output and keep that around -3. You need some headroom for that master right?

  • Start with your drums by getting that kick, snare and hit hats to harmonize together. Oh how sweet the sound! Throw in your main vocal and make it sit just above your drums. Do you hear anything clashing? Is the kick overbearing your vocal? Well turn it down a
    little. Going down in volume versus going up is always a plus. Make sure these two (kick/vocal) do not clash because they need to stay at a center pan. Use effects on the kick to quiet it a little. Like a low shelf setting. How’s that sounding?

  • Uh-oh it’s starting to sound sweet. Ok, now add in some of your sounds (FX, keyboard, guitar, etc.) and make those instruments sit in their own space within the mix. If something is clashing, pan it a little to the left or right. Can you hear every sound by itself now? How’s that kick sounding? How about the main vocal? Is the keyboard drowning it out? No? Cool! It’s getting better.

  • Now add in your background vocals. Add whatever affects you deem necessary according to the sound you are trying to project. That doesn’t mean hurry up and run to your closest auto tune vst… lol.  Get those vocals sounding sweet and “clear.” We want to hear what you have to say. And you should want to be heard!

  • Ok so now we have the kick, main vocal, background vocals and an instrument playing together. Can you hear each sound within its own space without clashing against any other sounds within the mix? Yes, uh-oh even better! Let’s add in some more instruments.

  • Hurry and go take a peek at your master output level. Are you below -3? No? Uh-oh, not good. Go back to your track mixer and start adjusting things down until you are within the -3 range on your master output.  How’s that sounding?

  • Ok so now you have all your tracks playing in unison. How’s it sounding? Can you hear your vocals and adlibs along with your backgrounds clearly? Are any of the other sounds clashing with anything? No? Oh so you’re telling me everything is in that sweet spot? Hey that’s great. Where are your vocals? Are they just above all the other sounds? See where I’m going with this? The key to a good mix is the way you record everything in and how it sounds during playback. Your ears are your best friend in this matter.

  • If all of your sounds are in their own space and you’ve applied the certain effects that you chose and nothing is clashing, you just might have a good mix! Before you get too excited and start contacting the world that you are the best mixing engineer around, go check that master output one more gain… lol. Are you below or at -3? No? Well get your butt on back over to that track mixer and keep adjusting until you get it right.

  • If you are at that sweet spot, well isn’t that just special? You’re all good, I suppose! Go ahead and save your file (better safe than sorry) and continue on to your master output. Now bounce that puppy off in two file formats. The first being a 16 bit wav and the second being a 24 bit wav. These files will become your master files. Use the 16 bit to play in several different music players to see how well or bad the mix is sounding. If it’s a little too rough, go back to the drawing board working on getting it as close as possible. Meaning hearing every sound within its own space and not clashing with other sounds. And again, the vocals just above the whole mix, sounding clear as a nice sunny day.

  • Once you get to the point where everything is sounding nice on every player, you are ready for a master. If attempting it yourself… well that’s another article, or sending it to your Engineer, your bounce should be good enough to work with for more enhancements.
    Of course being that golden cd quality sound that competes with most commercial music being sold today.

  • It’s been real folks and happy mixing! If you have any questions or would like us to review your tracks, hit us up at bmdubb@dubbspotrecords.com

PEACE!

***DUBB SPOT RECORDS ***

Hip Hop: Mixing For Mastering

mixerDubb Spot Records receives a lot of submissions from various Artist/Producers from all around the World. We have noticed through interaction with these Artist, that the understanding of mixing and mastering is thought to be one of the same. Since mixing is a service that Dubb Spot Records offers, we thought it would be good idea to put together a preliminary guideline of what we need to master your music properly. You the producer/beatmaker, will also gain some valuable knowledge by using these guidelines. You do want your project to stand out and have more clarity than the common submission, CORRECT? Try to become familiar with these tips and your next project will be a step above the competition in this here Hip Hop World!!! Here are some good guidelines to live by that we ran across from those guys over there at eHow.com.

 

 

Mixing Hip Hop Music for Mastering

 

  1. The first thing to do always is make sure your mix is clean to begin with. There is a saying in the industry, garbage in garbage out. Noise and hiss can be considered an aesthetic that some Hip Hop music producers prefer, however, if it is not your intention to have noise or hiss in the track then get rid of it. To do this you can use some expensive professional hardware processors or if you are rocking the laptop you can get some free WAVES type of effects also.track mixer

  2. Stay away from over filtering. Over filtered music can sound muddy. If you are the type that has your routine effects, you have to add to every track, next time switch it up and just add effects that complement the mix and what you are trying to hear. This might make your mix a little more crystal clear. Mastering engineers agonize when they listen to over processed & over compressed tracks. There are some things even they can’t fix. 

  3. Most mixing engineers would suggest that you mix your tracks to a -3db output if they are going to be professionally mastered. This allows headroom and preserves the dynamic range of your music. Without a dynamic range the final track will sound thin and weak. The trick is to make the track as loud as possible without over compressing so the mastering engineer can run the track through their expert compressors and vintage gear. 

  4. Backup your masters. Labels and artists sometimes require master copies of the original track. Sometimes they request this even when you still hold rights to the recording as well. So, a common practice would be to make a backup copy of the hard drive or memory card you made the music on before you submit it. Especially regarding the beats. If you have custom sounds on there the record company may own the sequence but usually the individual sounds are still yours. Such as synthesized sounds that you design from scratch.

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