Both jobs. One engineer. One conversation.

Why one engineer for both

Splitting the work across two people is a perfectly good way to make a record, and it's how most of the industry does it. It also introduces a seam. The mix engineer leaves headroom for a mastering stage they can't hear; the mastering engineer inherits decisions they can't undo without asking for a recall that takes a week to arrange.

Doing both closes that gap. Knowing exactly where the record is going changes how the mix is built — what to commit to, what to leave open, where a bus can be pushed because the final stage is going to catch it. Nothing is left safe just in case.

Who this is for

Artists with a release date and no appetite for project-managing two engineers, two invoices and two sets of notes. Anyone who has been burned by a master that made the mix worse and couldn't get a straight answer about why.

It's also the cheapest way to be certain. One price per track covers both stages, and the only person accountable for how the record sounds is the one who answers your email.

How it runs

You send full-length stems from a single start point, 24-bit WAV or AIFF, without mix-bus processing — the same preparation as a mix. Print the effects that are part of the song, send a rough mix and any references, and tell me what the track is meant to do.

The mix comes to you first for notes. Once it's approved, mastering happens on a mix I know intimately rather than one I'm meeting for the first time, and the full delivery set follows. Revisions are free and uncapped at both stages within the delivery window.

What you get back

The complete set: mixed and mastered 24-bit and 16-bit WAV plus a 320k MP3, level-set for streaming, with alternate versions on request. It takes the longest of the four services for the obvious reason that it is two of them.