Eric Westfall

Recording Engineer / Producer / Mixer

With the advent of high-speed internet and file-hosting services like Dropbox, no longer is it necessary to rent a fancy studio and spend gobs of money to have your song, soundtrack, cue or radio ad mixed by a professional.  Send your audio files to me and in under a week I will return to you a professional mix in WAV format.

If you decide that there's something you'd like a little louder, or quieter, or wetter or dryer, I'll make those fine-adjustments and, if necessary, fine-tune the mix a second time as-per your wishes, no extra-charge.

I mix 'in the box' using Protools, augmented by my own collection of plug-ins, and every version of your mix gets "saved."  If you change your mind after corrections we can return to original settings (or split the difference) on any desired tracks.

Understandably, it's with great trepidation that an artist sends his or her "baby" off to a stranger for final mixing.  That's why I offer a special introductory rate to new clients.

Pricing is contingent on many factors -- numbers of tracks, length, complexity and the recording quality of the tracks I will be working with -- so, I am unable to publish what I charge per song.  Please visit my contact page if you'd like to discuss your project and receive a quote.

To the right are parameters that I request be met pursuant to online mixing.

To Book a Mix:

First, send me an email via my contact page and introduce yourself.  To gauge my fee I'll need to know number and approximate length of songs (or cues, ads, etc.) and number of recorded tracks for each song.  Describe to me your vision in terms of genre or style and, if possible, send me an MP3 of a rough mix of one or more of the tracks.  (My job is to please you, so my first priority is finding out what you, the artist, are looking for.)

Once we agree on a price and payment terms and you've sent me your audio files, I'll get started.

What you'll need to send me:

  • Your WAV or AIFF files, at either 44.1k, 48kHz, 88.2k or 96kHz.  (I actually prefer 44.1k or 48k; I feel like the lower sampling rates convey better punch and bottom end.)  Be sure that all files are consolidated, start at the same point in the timeline, i.e. session start, and are suitable named, e.g. 'Kick,' 'Snare,' 'Main Vocal,' 'Vocal Dbl,' etc.  I also accept Protools sessions, but be sure that any tracks/regions not to be used are rendered inaudible so as to prevent any possible confusion.

  • Do not send midi files.  Please convert all midi/instrument tracks (these include virtual tracks in Garage Band or Logic) to audio tracks.

  • Send dry, un-effected tracks wherever possible.  If you have a clear vision of what sort of effects you want applied to specific tracks, just tell me what you want.  If there's a specific effect you have recorded and like and you're 100% sure that it's the sound you want, go ahead and send me the effected track ... but, ideally send me the dry track as well and name the files accordingly (e.g. Gtr-2, Gtr-2-w-fx).  Another option is to provide me with the dry and effect elements separately.

  • Before consolidating edited tracks, double check edit points and apply cross-fades appropriately to eliminate snaps and pops.

Recording Tips:

  • Be mindful not to over-compress.  (I can add more compression but I can't "un-compress" something.)

  • Vocal recording: Sibilance issues can often be alleviated by slowing down the compressor attack time.  Also, while tube mics can be great, they may not always be the best choice.  Even a high quality tube mike with a bum tube in it can result in sibilance problems.

  • If you record both direct and amped bass signals (recommended), keep them on separate tracks.  (The foundation of a great mix is the bottom-end, and separate D.I. and amp tracks allow me greater flexibility in getting a good bass sound.)

© Eric Westfall 2018