Mixing is largely a matter of taste, and there are thousands of ways that one could mix any given song or production. That being said, mixing is an art form that, like any other art or craft, requires basic inborn talents that improve through experience and practice, while being enhanced by having the proper tools or instruments.
We live in a do-it-yourself age. Many artists are recording at home on entry level systems while trying to create viable musical product for very little cost. Others are investing large sums of their own money tracking in professional studios, but are sometimes disappointed in the final product. Somehow, in spite of their investment, they never quite achieved the "record label" sound. Whatever the circumstances, having an experienced pro mixing on hi end gear will always improve the viability of any project. In a musical climate where there are millions of artists vying for the ears of the audience, professional sounding mixes can be a great advantage.
Mixing at Desisto Music
If you look at our gear list, you’ll see that we have a well appointed ProTools HD3 Accel system that is supplemented by an API DSM analog summing mixer along with an A-Designs “Hammer” EQ, Neve Portico Compressor, a Lexicon PCM 60 reverb, and other analog gear. By using both hi-end digital and analog we achieve the best of both worlds: the convenience, editability, and liquidity of ProToolsHD and the familiar, warm, classic sound of analog that we all know and love. Most major record label CDs are produced exactly this way....ie. digital production that is mixed and/or mastered through great analog equipment.
Of course, the most valuable pieces of equipment we own are Tom Desisto’s ears, along with his 20 plus years of experience producing, mixing, and mastering music.
Some production companies charge a flat "per song" fee for mixing. We take a different approach and here’s why:
If you have an album that is mostly acoustic guitar and flute, a flat fee of, say, $300 per song seems exorbitant. Conversely, if you just recorded a prog rock record that consists of four 15 minute songs made up of 45 separate tracks apiece, $300 per song barely pays for the time it will take for us to complete the kind of mixes music like that demands.
Here’s how we like to work:
If you are going to attend your mixing session...great! It will be a pleasure to work in person with you and an hourly rate of $60 will apply and you will know exactly how much time was spent and why. Daily rates can be negotiated.
If you just want to send us your tracks to mix, (don’t care to attend, or you’re from out of our area) we welcome your project. We feel the best way to determine a price is by phone or email consultation. Once we know the details of your project and perhaps hear a rough mix or two we will give you a firm, fair price that will entitle you to two rounds of revisions if needed.
We have a secure FTP server through which we can exchange files. Once we determine that we will work together you will receive a password which will enable you to upload your files or download your mixes. However, we still feel strongly that the best way to transfer large amounts of material is on hard media such as hard drives, DVD roms, etc. If you have an entire album to mix, we suggest you buy a separate firewire drive, make copies of your files, put the drive back in its original packaging, and ship it to us. Naturally, upon completion of your project we will return the drive to you.
Once your mixes are done, we can deliver 24 bit stereo mixes to you via FTP or DVD/CD rom. These files will be ready to master, and we can deliver them to your mastering engineer if you’d like at any sample rate he or she likes to work in.
If you want us to master your tracks as well as mix them we have special pricing, and your mastering costs will be greatly reduced. In that case we will deliver 16 bit 44.1k files both on CD rom and audio CD, ready for duplication.
More info: Credits | Clients