Online mixing and mastering services
Give your record a sound to fall in love with
Nick Lewis
Mixing and mastering engineer
About
Every one of your records is a tiny universe.
Mixing and mastering are about creating the space your music lives in. A space your listeners want to explore. Get to know better. Fall in love with.
With my online mixing and mastering services, I craft homes for songs and albums overflowing with rich textures, glittering details, and irresistible warmth.
For luscious singer-songwriter, earthy jazz and blues, organic electronica, dusty beats and breaks, and filthy rock & roll.
Online Mastering
Online Mixing
THE Studio
Precision, mastering-grade monitoring. A curated selection of beautiful analogue: clean and elegant, or dripping with tube and transformer tone as needed.
And a lovingly crafted space, designed to reflect and inspire the care and character I put into every record that passes through it.
People I've worked with
Mastering starts at £50 per track. Because it’s easier to master tracks in batches, the cost is lower the more tracks you book at once.
Mixing starts at £100 per song. The price depends on how many instrument tracks are in the project – the more instruments, the longer it takes, the higher the cost.
Discounts are available on batch bookings for mixing and mastering EPs and albums.
Follow the link for full mixing and mastering prices.
Mixing and mastering prices include up to three revisions, which is usually more than enough.
You can hear tracks that I’ve both mixed and mastered on the online mixing page.
Tracks that I’ve mastered only can be heard on the online mastering page.
For mastering: please send stereo, 24-bit mixdowns of your tracks as either WAV/AIFF. Please remove any limiters, clippers, or other “mastering” processing unless you mixed into them. If unsure, send both.
For mixing: please send 24-bit WAV/AIFF of every instrument track in your project, starting from 0s and running the length of the track. That includes separate drum sounds e.g. kick, snare, hi-hat etc.
Keep any effects that are integral to the sound (e.g. filters, distortions, delays) but bypass anything you’ve added for “mixing” purposes (usually EQ, compression.)
If in doubt, send wet and dry versions and flag them to me in the email. And feel free to ask about anything specific!
Send using whatever large file transfer service you prefer (e.g. Dropbox, Drive, OneDrive…) Otherwise, I recommend WeTransfer.com – it’s free and doesn’t require sign-up.
Please also include:
- Any notes about how you want everything to sound, including any specific concerns you have or particular details you want me to pay attention to
- Any references you can point me to that might be helpful (i.e. commercial recordings you like the sound of)
- Artist name
- Release title
- Track order, if decided
Generally, I try to get first mixes/masters back within a week of receiving the files, and revisions within two days of feedback. But it obviously depends on how big the project is – and how much work I already have.
If you have a deadline you need to hit, let me know in advance so we can plan accordingly.
All sessions are conducted remotely. Having previously had the facilities for attended sessions, my experience is that clients find it easier to judge their mix/master on systems they’re familiar with.
My rack is packed with a hand-picked selection of high-end analogue, which I use for 90% of mastering work.
The chain comprises a DAV BG3 EQ, API 2500 compressor, Custom Audio Germany HDE-250 EQ, Gyraf Gyratec XIV EQ, Manley Vari-Mu compressor and Rupert Neve Designs Portico II Buss Processor, with A/D D/A conversion performed by a Crane Song HEDD 192.
When mixing, I tend to use two or three of the above boxes for an analogue mixbus, working with plugins on a track level. Over the years, my plugin folder has evolved into a tight collection that gets as close to analogue as software can get.
You can find out more about my mixing and mastering equipment on the studio page.