Professional Sound.No Compromises.
From recording and stereo mastering to full Dolby Atmos production, Deadly Mix Studios provides the experience, equipment, critical listening environment, and personal attention required to take audio from its current state to its full potential.
We work with independent artists, labels, filmmakers, content creators, game developers, attorneys, businesses, and other clients who need audio handled correctly, not simply processed and returned.
Stereo Mixing · Mastering · Dolby Atmos · Recording · Music Production · Audio Restoration
Film/Video Audio · Game Audio · Sound Design
Multiple Ways to Book
We use a service called EngineEars for booking and remote services. You can request your next recording session here.
For mixing and mastering services in stereo and/or Dolby Atmos, click here.
For all other services or to discuss package deals on multiple services, songs, or projects, send us a message.
Text or Voicemail: (313) 356-4988
Email: Studio@DeadlyMixStudios.com
Why Deadly Mix Studios?
Decades of Experience. World-Class Capability. Personal Attention.
Deadly Mix Studios is led by TiKkO Rome, a formally trained and certified mixing, mastering, and Dolby Atmos engineer with more than 20 years of professional audio experience.
TiKkO began his career as a teenager under the late Joseph “King Joe” Gurganus at P.A.C. Recording Studios on Fort St. in Lincoln Park, Michigan, where TiKkO aided King Joe in founding Deadly Mix Productions. After completing his apprenticeship, he worked as a tracking engineer and later as a mix engineer in P.A.C.’s Studio B. He subsequently studied Recording Arts at Henry Ford College, worked throughout the region as a freelance engineer, and eventually re-established Deadly Mix Studios.
TiKkO’s experience spans hip-hop, R&B, rock, pop, orchestral music, country, EDM, film-audio, spoken word, podcasts, and other forms of recorded media. His resume includes work on projects involving 2 Live Crew, Bizarre & Foul Mouth, LA gangsta rap icon Spice1, Cheyenne Goff, Sylena Syree, Woven Hollow, Gordian Knot Project, Dice The Neighborhoodshittalka, Monte Cristoe, members of the Detroit Symphony Orchestra, and countless others.
A Purpose-Built Professional Studio
Deadly Mix Studios is a private professional facility built inside a divided residential property, following the practical Detroit tradition of legendary studios such as Hitsville U.S.A.: an intimate environment equipped to produce uncompromising results.
Studio Attributes:
- Professionally designed and calibrated room acoustics
- Top of the line monitors from Augspurger and PMC
- True 7.2.4 Dolby Atmos monitoring environment
- Premium monitor control and DAC by Digital Audio Denmark
- 1,024ch Dante audio network
- Custom hybrid analog and digital console
- Analog equipment from top professional manufacturers
- An impressive mic-locker featuring some of the best models ever made
- Stockpile of keyboards, guitars, and other instruments on-hand
- Couch and small library for artists to kick back and relax
The result is a controlled, revealing environment in which performances, mixes, and masters can be evaluated accurately.
Our Services
Select a service below to learn more.
Recording
Capture the Performance Correctly at the Source
A professional production begins with a professional recording.
Our controlled recording environment helps prevent the phase problems, uneven frequency response, excessive reflections, and environmental noise that commonly limit recordings made in untreated rooms.
We record with some of the best equipment out there from manufacturers including SSL, AMS Neve, Avalon, API, Rupert Neve Designs, Lynx, Digital Audio Denmark, and others.
Our microphone collection includes carefully selected professional and vintage microphones such as:
- Sony C-800G
- First-generation Neumann U 87
- Vintage RCA 77B maintained to original specifications
- Shure SM58, SM57, and many other options
Your engineer will select and configure the microphone, preamplifier, EQ, compressor, signal path, recording level, and positioning for the source being recorded. When appropriate, we can also help guide vocalists and musicians through technical or performance issues that may prevent them from delivering their best take.
We Provide Recording Services for
- Vocal Recording
- Instrument Recording
- Voice-Over
- ADR
- AudioBook
- Podcast
- and more…
We also provide a list of additional services including vocal tuning, session musicians, editing, timing corrections, and more.
Recording sessions start at $50/hr.
Minimum Recording Block: 2 hrs
Stereo Mixing
Turn Your Multitrack Production Into a Finished Record
A professional mix does more than balance volume. It establishes clarity, depth, energy, impact, width, tone, movement, and emotional focus while ensuring that every important part of the production serves the song.
At Deadly Mix Studios, your music is handled by an experienced, formally trained mix engineer—not passed through a template or generic preset chain.
Every mix is evaluated individually. We use detailed editing, automation, analog & digital processing, creative effects, and corrective techniques to make the most of the material provided. Excellent recordings create the greatest possibilities, but our experience also allows us to recover and improve productions recorded under less-than-ideal circumstances.
Standard Stereo Mix Includes
- (1) Professional Stereo Mix
- Up to 48 supplied audio tracks
- Up to two revisions
- (1) Backing-Track for Live Performances (upon request)
- Delivery as a high-resolution WAV file
When applicable, the following may be supplied upon request at no additional charge:
- Clean/radio-edit derived from the approved mix
- Performance version (backing track)
- Instrumental version
- A separately exported reference-master
- Consolidated project audio or a self-contained project archive, where technically and legally practical
Note: Projects exceeding 48 tracks, containing multiple versions, or requiring extensive restoration, editing, tuning, alignment, or production work may require custom pricing.
Alternative arrangements, stems, television mixes, a cappella versions, and other specialized deliverables may require additional work and pricing.
About the Included Reference Master:
At the client’s request, we can provide a louder, lightly polished reference version of the approved mix. This is useful for convenient listening and approval. We do not recommend it to be used as a substitute for dedicated professional mastering.
For releases intended for commercial distribution we recommend Single-Mastering, Album mastering after every song in the project has been mixed and approved, or Stereo + Dolby Atmos Packages
A synchronized stereo mix may be included with qualifying Dolby Atmos mixing packages. For artists planning both stereo and immersive releases, bundling the services is often more economical than commissioning each format separately.
SEND US YOUR TRACKS FOR A STEREO MIX REQUEST MULTI-SONG PRICING
Stereo Mastering
The Final Quality-Control Stage Before Release
Mastering is the final creative and technical stage between the approved mix and commercial distribution.
It requires an accurate monitoring system, a controlled acoustic environment, experienced critical listening, and the judgment to know not only what should be changed—but what should remain untouched.
- Mastering may address:
- Tonal balance
- Low-frequency control
- Dynamics
- Transient definition
- Stereo image
- Perceived loudness
- Distortion and technical defects
- Translation between playback systems
- Sequencing and consistency across an album
- Delivery specifications for the intended format
The mastering engineer’s goal is not to make every record sound the same, but to instead make each record sound complete, competitive, technically valid, and faithful to the artist’s intent.
We provide the following stereo-mastering services…
SINGLE-MASTERING
Single-mastering is intended for one approved stereo mix being released as a single.
Standard Deliverables
- (1) Release-ready high-resolution WAV master
- (1) 320 kbps MP3 with supported metadata
- (1) FLAC file with supported metadata
- Alternate file formats upon request
The primary digital-master is normally delivered as a 24-bit WAV file at 48kHz. A 16-bit/44.1 kHz version can be supplied when required for release on Compact Disc (CD).
Final loudness is determined according to the material, genre, client preference, intended release platform, and what produces the best musical result. Masters are not forced to an arbitrary loudness target when doing so would compromise the production.
A clean version may be included when it is identical to the primary version except for the removal or replacement of explicit language.
ALBUM AND EP MASTERING
Album mastering creates a coherent listening experience across multiple songs.
In addition to mastering each track individually, album mastering generally includes:
- Consistent tonal and loudness relationships
- Song sequencing
- Spacing and transitions
- Fade refinement
- Matching between songs recorded or mixed under different conditions
- Album-level quality control
- Delivery of the complete approved master set
Album (LP) and EP mastering is quoted according to the number of songs, total duration, required formats, and condition of the supplied mixes.
METADATA
Please provide applicable metadata before mastering begins. We embed metadata into MP3, FLAC, ALAC, and other supporting formats that may be used for Direct-to-Consumer sales through platforms such a BandCamp, EngineEars, Patreon, etc.
This may include:
- Artist Name
- Song Title
- Album or Project Title
- Featured artists
- Songwriters
- Producers
- Composers
- Musicians
- Recording, Mixing, and Mastering Engineer/Studio Credits
- ISRC
- Genre
- Release Year
- Copyright Information
- Cover Artwork, Logo, Band/Artist Pics, other images
- Additional Production
- Sample Credits
- Record Label
- Publisher
- Distributor
- Website Address
- Hosts, Guests, Original Air Date, and Release Platform (for Podcasts)
- Author, Publisher, and Narrator (for AudioBooks)
Not every delivery format supports every type of metadata. We will embed the information supported by each requested format.
Vinyl Mastering
Prepare Your Music for the Physical Demands of Vinyl
Vinyl is not simply another export format.
Its physical cutting and playback process creates technical restrictions which must be taken into account. In additional to typical mastering tools, mastering for vinyl requires specialized tools. An unsuitable master will typically cause audible distortion, mistracking, reduced cutting level, excessive sibilance, manufacturing delays, additional cutting charges, or rejection by the pressing facility.
Vinyl mastering may include:
- Vinyl-specific tonal and dynamic processing
- Low-frequency and phase management
- Sibilance and high-frequency control
- Side sequencing
- Runtime and cutting-level evaluation
- Preparation of files for the cutting engineer
- Communication with the selected cutting or pressing facility
Because every release and manufacturer has different requirements, vinyl mastering is custom quoted.
Dolby Atmos Mixing
Build an Immersive Mix—Not Merely an Expanded Stereo Mix
Dolby Atmos gives music and other audio media a three-dimensional sound field in which sound can exist around and above the listener.
A successful Atmos production must remain engaging across multiple playback environments, including immersive speaker systems, compatible vehicles, home systems, soundbars, mobile devices, headphones, and conventional downmixes (i.e. stereo, 5.1, etc.).
We do not simply place a few sounds overhead and call the result immersive. Each Atmos mix is constructed intentionally around the music, arrangement, movement, spatial relationships, and emotional direction of the production.
Deadly Mix Studios mixes on a true 7.2.4 PMC and Augspurger monitoring system with an external Dolby RMU over our Dante audio network in a calibrated room. This allows us to hear the complete speaker presentation directly, in exceptional detail, while also evaluating binaural and channel-based renders.
Dolby Atmos Mixing Includes:
- Custom Dolby Atmos Mix
- Detailed Object and Bed Placement
- Binaural Metadata Configuration
- Trim & Downmix Configuration
- Translation Checks Across Multiple Render Formats
- Dolby Atmos Mastering
- Quality-Control (QC) Review on Multiple Devices
- Synchronization with the Stereo Master, when stereo master is included with the package
Deliverables:
- (1) Release-Ready 24bit/48kHz ADM BWF Dolby Atmos Master
- (1) Dolby Atmos MP4 QC Review File
- (1) 24bit/48kHz Stereo WAV 2.0 Render
- (1) 24bit/48kHz stereo WAV Binaural Review Render
- (1) 24bit/48kHz Interleaved 5.1 WAV Surround Review Render
- (1) Loudness Analysis Report File
- Additional Downmix Renders upon request
The ADM BWF is the primary professional Dolby Atmos master used by supported labels, distributors, and streaming delivery systems.
Stereo Companion Mixes
The automated stereo render of an Atmos mix is not necessarily identical to a separately authored stereo mix.
Where a package includes both formats, we can create and synchronize a dedicated stereo companion that preserves the artistic identity of the Atmos version while making appropriate decisions for conventional stereo playback.
If the Dolby Atmos Mix/Master is a re-master for a song that has already been released for digital streaming, a copy of the stereo release master may be required to ensure synchronization with the released stereo master.
If the song is not yet released in stereo, we recommend holding off on releasing the project until all release masters are ready; in order to release them together.
Dolby Atmos masters must pass a critical human review process before streaming services will accept them. We guarantee all our masters will pass this process. If our work were ever to be rejected, we will review the master for any errors on our part and make the necessary corrections at no additional cost to you.
Note: You must release the stereo and Atmos masters together EXACTLY as we deliver them to you.
Do NOT swap out nor amend the stereo and/or Dolby Atmos master release files after delivery. Do NOT rename the files, attempt to embed coverart or other metadata to either master, or amend them in any other way. Failure to comply with this warning will result in the rejection of your Dolby Atmos release by streaming services. As such, our guarantee does not cover situations where either master was amended by parties outside of Deadly Mix Studios after delivery.
Dolby Atmos Mastering
Independent Quality Control for Your Immersive Release
An Atmos mix should be mastered and quality-checked on a professional immersive system before distribution.
Dolby Atmos mastering evaluates and polishes both the artistic presentation and the technical integrity of the supplied immersive master.
This includes:
- ADM BWF inspection
- Trim & Downmix configuration inspection
- Loudness and true-peak compliance
- Object and bed evaluation
- Binaural metadata review
- Downmix and re-render translation
- True Dolby Atmos vs Apple Spatial Audio Comparison
- Phase and low-frequency behavior
- LFE usage
- Spatial balance
- Tonal consistency
- Distortion, clipping, clicks, and other defects
- Synchronization with the stereo master
- Start and end-point compliance
- Overall release quality
- Resolution and compliance with all other requirements
Where the supplied master permits correction, we will address problems that could reduce translation quality or create delivery complications.
Why Professional Atmos Mastering Matters
Atmos is experienced through much more than headphones. Listeners may hear the same release through Dolby Atmos automotive sound systems, immersive home systems, soundbars, televisions, mobile devices, headphones, and future playback formats derived from the same master.
A production created exclusively through headphones will typically conceal spatial, tonal, low-frequency, and translation problems that become obvious through a full speaker system.
Our mastering-grade room allows the complete immersive presentation to be assessed directly, while still checking the binaural and other renders used by listeners.
Apple Music currently provides qualifying Spatial Audio content with a greater share of sound-recording royalties, at a rate of up to 10 percent compared with content available only in stereo. Eligibility, delivery, and royalty policies remain subject to Apple’s current terms and should be confirmed with the artist’s distributor or label.
Dolby Atmos Mastering Deliverables
Depending on the supplied material and commissioned package:
- (1) Mastered ADM BWF
- (1) Dolby Atmos MP4 QC Review File
- (1) 2.0/Stereo Render WAV File
- (1) Stereo Binaural-Review Render WAV File
- (1) 5.1 Render WAV File
- (1) Quality-control report when appropriate
- (1) Dolby RMU Rendered Loudness Analysis Report
Beats, Composition, & Songwriting
Original Music Built Around the Project, or Select from Our Stash
Deadly Mix Studios works with selected producers, beatmakers, composers, lyricists, and musicians to provide original music in a wide range of styles.
Available services may include:
- Existing Premium Instrumentals
- Exclusive Beat Licensing or Lease
- Custom Beat Production
- Original Composition
- Film and Game Scoring
- Songwriting
- Lyric Development
- Arrangement
- Additional Production
- Music Editing
Contributors establish their own availability, terms, ownership arrangements, and pricing. Those details will be confirmed before any commissioned work begins.
Session Musicians
Bring the Right Player Into the Production
Session musicians may be hired for instruments including:
- Guitar
- Bass
- Drums
- Piano
- Keyboards
- Strings
- Brass
- Woodwinds
- Percussion
- Turntables
- Additional specialty instruments
Local musicians can attend qualifying studio sessions. Remote performers can also be connected directly to supported sessions using professional remote-recording technology, allowing full-quality audio to be captured directly into the DAW while the artist, producer, and engineer communicate in real time.
Remote recording substantially expands the available range of instruments, styles, schedules, experience levels, and budgets.
Session musicians generally require advance scheduling and may require payment on or before the date of service.
Audio Forensics & Restoration
Recover Clarity From Difficult Recordings
Audio restoration can improve recordings affected by noise, distortion, poor acoustics, low recording levels, distance, interference, damaged media, or limited recording equipment.
Possible sources include:
- Phone Recordings
- Voicemail
- Security-Camera Audio
- Body-Cam or Dash-Ca Recordings
- Interviews
- Video Recordings
- Archival Recordings
- Damaged Music Recordings
- Spoken-Word Evidence
- Noisy Dialogue
- Consumer Cassette or Digital Media
Possible objectives include:
- Improving speech intelligibility
- Reducing continuous noise
- Reducing hum, buzz, clicks, or crackle
- Clarifying muffled dialogue
- Balancing inconsistent levels
- Isolating or emphasizing relevant events
- Restoring damaged or aging recordings
- Preparing cleaner audio for legal review or presentation
- Free Initial Evaluation
Please submit the audio with a clear explanation of what you need to hear, remove, restore, or establish.
We will evaluate:
- The condition of the source
- Whether the requested improvement appears technically achievable
- The likely limitations
- The work required
- The estimated price and turnaround
No legitimate specialist can guarantee that inaudible information can be reconstructed from every recording. We will provide an honest assessment before paid work begins.
Legal and Evidentiary Use
Clients are responsible for confirming that they are legally authorized to possess, process, record, and submit the material.
Where chain of custody, expert testimony, formal authentication, or a court-admissible forensic report is required, disclose that requirement before work begins. Such services involve procedures beyond ordinary audio cleanup and must be quoted separately.
Film & Video Audio
Audio Post-Production That Supports the Story
Weak production audio can make a visually strong project feel unfinished. Deadly Mix Studios provides scalable audio post-production for films, episodic projects, documentaries, advertisements, online content, and other visual media.
Services may include:
- Dialogue Editing
- Noise Reduction
- Production-Audio Repair
- ADR Recording and Editing
- Voice-Over Recording
- Foley
- Sound-Effects Editing
- Sound Design
- Music Editing
- Original Score
- Soundtrack Production
- Re-Recording Mixing
- Loudness Compliance
Stereo, surround, and Dolby Atmos delivery
Projects can be completed in mono, stereo, surround, or Dolby Atmos according to the target platform and budget.
Because post-production requirements vary substantially, film and video work is custom quoted after reviewing the project, existing audio, runtime, schedule, and required deliverables.
Podcast & Content-Creator Audio
Professional Audio for Content People Will Continue Watching
The same dialogue, restoration, sound-design, and mixing principles used in film can improve podcasts, YouTube productions, social content, interviews, courses, livestreams, and branded media.
Services may include:
- Dialogue Cleanup
- Noise and Room Reduction
- Editing
- Level Consistency
- Voice-Over
- Music Placement
- Sound Effects
- Intro & Outro Production
- Stereo Mixing
- Loudness Preparation
Multi-Episode Production Packages
Recurring packages are available for creators who publish on a regular schedule.
Game Audio
Sound That Responds to the Player and Supports the World
Game audio requires more than creating individual sound files. Every sound must support the action, environment, narrative, timing, and interactive systems of the game.
We provide services including:
- Sound-Effects Creation
- Environmental Audio
- Ambience
- Dialogue Editing
- Creature and Character Sound Design
- Weapons and Impact Design
- Music Editing
- Cinematic Mixing
- Interactive Mix Preparation
- Asset Organization
- Middleware and engine implementation support (Weiss)
- Stereo, surround, and immersive audio production
Our primary production environment includes Steinberg Nuendo, with implementation workflows available for supported game engines and audio middleware.
Game-audio projects are quoted according to asset count, implementation requirements, platform, schedule, and level of interactivity.
Sound Design, SFX, & Foley
Create the Sounds Your Project Needs
We create original sound effects, designed elements, Foley, atmospheres, transitions, impacts, textures, and environmental audio for:
- Films
- Series & Episodic Productions
- Games
- Trailers
- Advertisements
- Podcasts
- Installations
- Live Productions
- Music
- Branded Media
Services range from creating a single custom sound to designing the complete sonic identity of a production.
Custom Packages
One Project. One Coordinated Workflow.
Projects involving multiple songs, albums, several release formats, or a combination of services may qualify for custom package pricing.
Packages may combine:
- Recording
- Editing
- Vocal or Instrumental Production
- Stereo Mixing
- Stereo Mastering
- Dolby Atmos Mixing
- Dolby Atmos Mastering
- Clean, Instrumental, A Capella, and/or Performance Version
- Alternate Mixes
- Video/Film Audio Post-Production
- Sound Design
- Session Musicians
- Ongoing Creator Services
- Other Listed Services
Bundling services also allows all versions and deliverables to be prepared as a coordinated release rather than as unrelated files produced at different stages.
Before Sending Your Project
General Audio Delivery Guide
- Unless instructed otherwise, supply audio as WAV files at the same sample rate and bit depth used by the original recording or production session.
- Do not convert files to MP3, AAC, or another lossy format before submission.
Preferred Formats
- WAV or Broadcast WAV
- Original project sample rate & bit depth
- Mono sources exported as mono
- Stereo sources exported as stereo
- No sample-rate conversion unless requested
- No normalization
- No clipping
- For most new productions, 48 kHz/24-bit is recommended.
MULTITRACKS VS. STEMS
For mixing, we strongly prefer consolidated individual multitracks rather than grouped stems.
A multitrack export supplies separate files such as:
Kick In, Kick Out, Snare Top, Snare Bottom, Bass Amp, Bass DI, Ld vocal, BG Vocal, Ld Guitar, Rhythm Guitar, Piano…
A stem combines several related tracks into one file, such as:
Drum Bus, Vocal Bus, All guitars… or Full Instrumental (aka a "2-track")
Stems reduce the amount of control available during mixing. Send stems only when individual tracks are unavailable
Every Export Must
- Begin at exactly the same timeline position
- Remain synchronized when imported together
- Continue through past the full end of the song
- Include complete fades and natural effect tails when those effects are intentionally printed
- Use clear and unique filenames
- Contain no unintended clipping
- Match the supplied reference mix
Effects and Processing
Keep processing that is fundamental to the sound only.
Examples may include:
- Amp simulation
- Guitar-pedal effects
- Sound-design processing
- Creative distortion
- Instrument-defining modulation
- Specialized vocal effects
- Printed production effects
Remove processing intended as temporary mixing.
This often includes:
- Master-Bus Limiting
- Mix-Bus Maximizers
- Unapproved Master Compression
- Corrective EQ
- Reverbs & Delays
- Loudness processors added to make the demo louder
When uncertain, provide both a processed & unprocessed version and label each in the file-names
PROJECT PREPARATION CHECKLIST
Before Exporting:
- Save a new copy of the project specifically for delivery
- Print a stereo reference of the current mix
- Confirm the final arrangement and song length
- Confirm the tempo and time signature
- Extend the export range approximately five seconds beyond the final audible sound
- Remove processing from the master output
- Remove any temporary clipping, limiting, and loudness processing
- Check every track for accidental clipping
- Confirm that all virtual instruments and MIDI parts are rendered correctly
- Confirm that every exported file begins at the same timeline position
- Reimport the files into a blank session and verify synchronization
- Place the files and project information into one clearly named .zip file
REQUIRED PROJECT INFORMATION
Include a text, PDF, or Word document containing:
- Client real name
- Artist or project name
- Song/Project Title
- Album or Release Title, when applicable
- Email Address
- Phone Number, when appropriate
- Song Tempo
- Time signature (if unknown, its probably 4/4)
- Musical key, if known
- Sample rate & Bit depth
- Number of supplied audio files
- Requested service
- Requested versions and deliverables
- Reference songs (Songs similar to what you’re going for)
- Creative notes
- Known technical problems, if applicable
- Deadline, if must be delivered by a certain date
- Release date, if known
- Complete credits (Composer(s), Lyricist(s), Tracking Engineer(s), Samples used, etc.
- ISRC, if available
- Name of the uploaded ZIP archive
For restoration or forensic work, explain exactly what you want improved, removed, isolated, clarified, or evaluated.
FILE-NAMING FORMAT
Use consistent, descriptive filenames.
Recommended Format: TrackNumber_Artist_SongTitle_Content_Version.wav
Examples:
- 01_Eminem_Antichrist_Kick.wav
- 02_Bizzare_FordPlant_Snare.wav
- 03_Bliss66_SoonerOrLater_BassDI.wav
- 04_ChrisPolite_Photograph_BassAmp.wav
- 05_MonteCristoeFeatTiKkO_HotMess_LeadVocal_Raw.wav
- 06_ScantlessFtQDigz_HoldUp_LeadVocal_Processed.wav
- 07_SylenaSyree_AllTheTimeCover_BackgroundVocal01.wav
Avoid filenames such as:
- Audio 1.wav
- New Track.wav
- Vocal Final New 2.wav
- Beat Latest FINAL FINAL.wav
DAW-Specific Export Instructions
Select your recording software for detailed instructions.
Cubase / Nuendo
After the aforementioned prep work, follow these instructions for proper export
Option A: Traditional Trackout
1. Set the project’s left cycle locator at the start of the project and the right cycle locators 2 full measures or 5 seconds after the end of the last tracks, to define a common export range for all tracks, beginning at the project start and ending after the final audible tail.
2. Disable all EQ, Compression, Delay, Reverb, etc. plugins that are not essential to such an extent that you would consider them part of the instrument. For instance, a tube amp, pedals, and rotary might be considered part of the source on a guitar.
The general rule we like to use when it comes to choosing whether or not a plugin should be removed is to ask ourselves
Would it be placed before the recorder in the signal path if it were a real instrument being recorded?
If the answer is "Yes", keep it. If the answer is "No", it should be removed.
2. Open: File → Export → Audio Mixdown
3. Change Channel Selection (near top left of export window) from "Single" to "Multiple
4. Select each individual audio, instrument, group, and/or auxiliary ("FX") channels that must be exported
5. Create New Folder somewhere easy to find.
Recommended folder naming system: BandOrArtists_ProjectOrSongTitle_ServiceRequested
Example: BizarreFoulMouth_SmokeRoom_DolbyAtmosMix
6. Configure File-Naming. Recommended: Artist_ProjectTitle.
7. Select the new folder you created as the export destination
8. Recommended Export Settings:
- File type: WAV
- Sample Rate: 48kHz or same as project
- Bit depth: 24-bit
- Export As: If exporting all stereo, select "Interleaved".
If exporting mono and stereo tracks in separate passes, select "Mono Downmix" during the mono export
- Normalize: Off
- Insert Broadcast Wave Chunk: Off
- Don’t Use WAV Extensible Format: Off
- Don’t Use RF64 Compliant File Format: Off
- Import Into Project: Optional
- Real-Time Export: Use when required by external hardware or unstable VSTi (virtual instruments)
- Deactivate External MIDI Inputs: On
10. Load all exported tracks into new session to confirm that every exported file begins at the same position and remains synchronized.
11. Add the completed text document (.txt, .doc, or .pdf) to the track folder and compress it to a .zip
Option B: Send Project Backup
1. Go to File > Backup Project > Create new project folder: Artist_ProjectTitle_ServiceRequested
2. Use Settings:
- Keep Current Project Active: Optional
- Minimize Audio Files: Off
- Make Direct Offline Processing Permanent: Off, unless you have necessary offline processes in the project
- Remove Unused Files: Optional
- Do Not Backup Video: On, unless the desired service requires it
- Do Not Backup Mixdown Folder: Off
3. Follow steps 10 and 11 from Option A
Pro Tools
After the aforementioned prep work, follow these instructions for proper export
1. Create a selection beginning at the same timeline position for every track and extending beyond the final audible tail.
2. Commit or print virtual instruments and processing that must remain part of the source.
For multiple tracks, use an appropriate combination of:
- Commit
- Freeze and commit
- Consolidate Clip
- Bounce Mix
- Export Clips as Files
3. Disable all EQ, Compression, Delay, Reverb, etc. plugins that are not essential to such an extent that you would consider them part of the instrument. For instance, a tube amp, pedals, and rotary might be considered part of the source on a guitar.
The general rule we like to use when it comes to choosing whether or not a plugin should be removed is to ask ourselves
Would it be placed before the recorder in the signal path if it were a real instrument being recorded?
If the answer is "Yes", keep it. If the answer is "No", it should be removed.
4. Export
Recommended Settings:
- Format: WAV
- Sample Rate: 48kHz, or same as session
- Bit depth: 24-bit
- Conversion Quality: Highest available when conversion is unavoidable
- Normalize: Off
- Offline Bounce: Acceptable unless real-time playback is required
5. Load all exported tracks into new session to confirm that every exported file begins at the same position and remains synchronized.
6. Add the completed text document (.txt, .doc, or .pdf) to the track folder and compress it to a .zip
Logic Pro
After the aforementioned prep work, follow these instructions for proper export
1. Set the project’s left cycle locator at the start of the project and the right cycle locators 2 full measures or 5 seconds after the end of the last tracks, to define a common export range for all tracks, beginning at the project start and ending after the final audible tail.
2. Disable all EQ, Compression, Delay, Reverb, etc. plugins that are not essential to such an extent that you would consider them part of the instrument. For instance, a tube amp, pedals, and rotary might be considered part of the source on a guitar.
The general rule we like to use when it comes to choosing whether or not a plugin should be removed is to ask ourselves
Would it be placed before the recorder in the signal path if it were a real instrument being recorded?
If the answer is "Yes", keep it. If the answer is "No", it should be removed.
3. Render software instruments and confirm that only essential processing is included.
4. Export
Go to: File → Export → All Tracks as Audio Files
Recommended settings:
- Save Format: WAV
- Sample Rate: 48kHz, or same as session
- Bit Depth: 24-bit
- Bypass Effect Plug-ins: Select according to project state after preparation process (shown in above section) was completed
- Include Audio Tail: On
- Include Volume/Pan Automation: Discuss with the engineer when uncertain. Best practice is not to include it, but add a note explaining any volume/pan automation use. So, that the engineer can re-add it in the mix at the appropriate time.
- Normalize: Off
5. Load exported files into a new session to confirm that mono tracks remain mono where possible and that all exports align from the same starting point.
6. Load all exported tracks into new session to confirm that every exported file begins at the same position and remains synchronized.
7. Add the completed text document (.txt, .doc, or .pdf) to the track folder and compress it to a .zip
Reaper
After the aforementioned prep work, follow these instructions for proper export
1. Set the project’s left cycle locator at the start of the project and the right cycle locators 2 full measures or 5 seconds after the end of the last tracks, to define a common export range for all tracks, beginning at the project start and ending after the final audible tail.
2. Disable all EQ, Compression, Delay, Reverb, etc. plugins that are not essential to such an extent that you would consider them part of the instrument. For instance, a tube amp, pedals, and rotary might be considered part of the source on a guitar.
The general rule we like to use when it comes to choosing whether or not a plugin should be removed is to ask ourselves
Would it be placed before the recorder in the signal path if it were a real instrument being recorded?
If the answer is "Yes", keep it. If the answer is "No", it should be removed.
3. Open: File → Render
Choose the appropriate source, commonly:
- Selected tracks via master
- Selected tracks
- Selected media items
4. Export
Recommended Settings:
- Bounds: Time selection
- Format: WAV
- Sample Rate: 48kHz, or same as project
- Bit Depth: 24-bit PCM
- Normalize/Limit/Fade: Off
- Channels: Mono for true mono tracks; stereo for stereo sources
Use the Render Matrix when exporting many individual tracks.
5. Load all exported tracks into new session to confirm that every exported file begins at the same position and remains synchronized.
6. Add the completed text document (.txt, .doc, or .pdf) to the track folder and compress it to a .zip
Fender / Studio One
After the aforementioned prep work, follow these instructions for proper export
1. Set the project’s left cycle locator at the start of the project and the right cycle locators 2 full measures or 5 seconds after the end of the last tracks, to define a common export range for all tracks, beginning at the project start and ending after the final audible tail.
2. Disable all EQ, Compression, Delay, Reverb, etc. plugins that are not essential to such an extent that you would consider them part of the instrument. For instance, a tube amp, pedals, and rotary might be considered part of the source on a guitar.
The general rule we like to use when it comes to choosing whether or not a plugin should be removed is to ask ourselves
Would it be placed before the recorder in the signal path if it were a real instrument being recorded?
If the answer is "Yes", keep it. If the answer is "No", it should be removed.
3. Go to: Song → Export Stems
4. Select the required channels.
5. Export
Recommended Settings:
- Format: WAV
- Sample Rate: 48kHz, or same as song
- Resolution: 24-bit
- Export Range: Between Loop
- Preserve Mono Tracks: On
- Bypass Master Effects: On
- Import to Track: Optional
6. Load all exported tracks into new session to confirm that every exported file begins at the same position and remains synchronized.
7. Add the completed text document (.txt, .doc, or .pdf) to the track folder and compress it to a .zip
Ableton Live
After the aforementioned prep work, follow these instructions for proper export
1. Set the project’s left cycle locator at the start of the project and the right cycle locators 2 full measures or 5 seconds after the end of the last tracks, to define a common export range for all tracks, beginning at the project start and ending after the final audible tail.
2. Disable all EQ, Compression, Delay, Reverb, etc. plugins that are not essential to such an extent that you would consider them part of the instrument. For instance, a tube amp, pedals, and rotary might be considered part of the source on a guitar.
The general rule we like to use when it comes to choosing whether or not a plugin should be removed is to ask ourselves
Would it be placed before the recorder in the signal path if it were a real instrument being recorded?
If the answer is "Yes", keep it. If the answer is "No", it should be removed.
3. Freeze and flatten unstable virtual instruments only after saving a separate project copy.
4. Open: File → Export Audio/Video
5. Export
Recommended Settings:
- Rendered Track: All Individual Tracks
- File Type: WAV
- Sample Rate: 48kHz, or same as project
- Bit Depth: 24
- Normalize: Off
- Convert to Mono: Off except where specifically required
- Include Return and Master Effects: Off
6. Load all exported tracks into new session to confirm that every exported file begins at the same position and remains synchronized.
7. Add the completed text document (.txt, .doc, or .pdf) to the track folder and compress it to a .zip
FL Studio
After the aforementioned prep work, follow these instructions for proper export
1. Set the song mode and define the full arrangement range, including effect tails.
2. Disable all EQ, Compression, Delay, Reverb, etc. plugins that are not essential to such an extent that you would consider them part of the instrument. For instance, a tube amp, pedals, and rotary might be considered part of the source on a guitar.
The general rule we like to use when it comes to choosing whether or not a plugin should be removed is to ask ourselves
Would it be placed before the recorder in the signal path if it were a real instrument being recorded?
If the answer is "Yes", keep it. If the answer is "No", it should be removed.
3. Open: File → Export → WAV
4. Export
Recommended Settings:
- Mode: Full Song
- Tail: Leave Remainder
Output Format: WAV
- Sample Rate: 48kHz, or same as song
- WAV Bit depth: 24-bit
- Resampling Quality: Highest practical setting
- HQ for All Plugins: On
- Disable Maximum Polyphony: Optional
- Dithering: Off
- Save Playlist Markers: OFF
- Save Loop Markers: OFF
- Save Note Markers: OFF
- Save Tempo Information: OFF
- Split Mixer Tracks: On
- Trim PDC Silence: On
- Enable Insert Effects: Off, except when required under the criteria described in the preparation section above
- Enable Master Effects: Off
- Normalize: Off
WARNING: If you export with Save Playlist Markers, Save Loop Markers, Save Note Markers, and/or Save Tempo Information on; your tracks will typically have trouble loading into a professional DAW. When FL Studio embeds these types of metadata, it uses the same code that many professional DAWs use for other purposes. Exporting with these options on may cause your tracks to load warped, stretched, pitched incorrectly, and/or with other issues.
5. Load all exported tracks into new session to confirm that every exported file begins at the same position and remains synchronized.
6. Add the completed text document (.txt, .doc, or .pdf) to the track folder and compress it to a .zip
Reason
After the aforementioned prep work, follow these instructions for proper export
1. Set the project’s left cycle locator at the start of the project and the right cycle locators 2 full measures or 5 seconds after the end of the last tracks, to define a common export range for all tracks, beginning at the project start and ending after the final audible tail.
2. Disable normalization and remove temporary master-bus loudness processing.
3. Disable all EQ, Compression, Delay, Reverb, etc. devices and plugins that are not essential to such an extent that you would consider them part of the instrument. For instance, a tube amp, pedals, and rotary might be considered part of the source on a guitar.
The general rule we like to use when it comes to choosing whether or not a plugin/device should be removed is to ask ourselves
Would it be placed before the recorder if it were a real instrument being recorded?
If the answer is "Yes", keep it. If the answer is "No", it should be removed.
4. Bounce/Export each individual track while preserving the same start and end points markers
Export Settings:
- File Type: WAV
- Sample Rate: 48kHz, or same as song
- Bit Depth: 24-bit
5. Load all exported tracks into new session to confirm that every exported file begins at the same position and remains synchronized.
Reason workflows vary depending on Rack routing and mixer configuration. We recommend verifying every exported file in a blank session before delivery to ensure the track audio is as you intend.
6. Add the completed text document (.txt, .doc, or .pdf) to the track folder and compress it to a .zip
GarageBand
After the aforementioned prep work, follow these instructions for proper export
1. Set the project’s left cycle locator at the start of the project and the right cycle locators 2 full measures or 5 seconds after the end of the last tracks, to define a common export range for all tracks, beginning at the project start and ending after the final audible tail.
2. Disable all EQ, Compression, Delay, Reverb, etc. plugins that are not essential to such an extent that you would consider them part of the instrument. For instance, a tube amp, pedals, and rotary might be considered part of the source on a guitar.
The general rule we like to use when it comes to choosing whether or not a plugin should be removed is to ask ourselves
Would it be placed before the recorder in the signal path if it were a real instrument being recorded?
If the answer is "Yes", keep it. If the answer is "No", it should be removed.
3. Save a duplicate project.
4. Disable solo and mute automation that could interfere with export.
5. Solo one track at a time and export each track individually, exporting each track from the same project start and end points.
- Export WAV or AIFF at the highest available quality.
- Label each file clearly.
6. Load all exported tracks into new session to confirm that every exported file begins at the same position and remains synchronized.
Reason workflows vary depending on Rack routing and mixer configuration. We recommend verifying every exported file in a blank session before delivery to ensure the track audio is as you intend.
7. Add the completed text document (.txt, .doc, or .pdf) to the track folder and compress it to a .zip
Note: GarageBand has limited multitrack-export functionality compared with professional DAWs.
For larger projects, transferring the GarageBand project into Logic Pro may provide a more reliable export workflow.
Other DAWs
Instructions for Bitwig Studio, Digital Performer, LUNA, Mixbus, Sequoia, Pyramix, ACID Pro, Music Maker, and other production systems are available upon request.
The underlying requirements remain the same:
After the aforementioned prep work, follow these instructions for proper export
1. Set the project’s left cycle locator at the start of the project and the right cycle locators 2 full measures or 5 seconds after the end of the last tracks, to define a common export range for all tracks, beginning at the project start and ending after the final audible tail.
2. Disable all EQ, Compression, Delay, Reverb, etc. plugins that are not essential to such an extent that you would consider them part of the instrument. For instance, a tube amp, pedals, and rotary might be considered part of the source on a guitar.
The general rule we like to use when it comes to choosing whether or not a plugin should be removed is to ask ourselves
Would it be placed before the recorder in the signal path if it were a real instrument being recorded?
If the answer is "Yes", keep it. If the answer is "No", it should be removed.
3. Save a duplicate project.
4. Export uncompressed WAV files
Sample Rate: 48kHz, or original sample rate
Bit Depth: 24-bit
Disable Normalization
Include complete audio and effect tails
Remove temporary master processing
5. Load all exported tracks into new session to confirm that every exported file begins at the same position and remains synchronized.
Reason workflows vary depending on Rack routing and mixer configuration. We recommend verifying every exported file in a blank session before delivery to ensure the track audio is as you intend.
6. Verify synchronization before uploading
7. Add the completed text document (.txt, .doc, or .pdf) to the track folder and compress it to a .zip
Contact us before export when your software, routing, or production setup is unusual.
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Frequently Asked Questions
Do you work with clients outside Michigan?
Yes. Mixing, mastering, Dolby Atmos, restoration, sound design, and many production services can be completed remotely for clients anywhere in the world.
Do I need to attend the session?
Not for most services. Projects can be submitted remotely, reviewed online, and delivered digitally. Recording and certain production services may be scheduled in person or remotely.
Can you fix a poor quality recording?
We often can, but results may vary. No engineer can fully reconstruct information that was never captured, so damaged or poor quality material must be evaluated individually.
How long will my project take?
Turnaround depends on the service, project size, supplied material, revision requirements, and current schedule. You will receive an estimated completion window before work begins.
Are revisions included?
Qualifying mixing packages include the number of revisions stated in the service description or booking agreement. Additional revisions, arrangement changes, replacement files, or changes to previously approved work may require an additional fee.
Can I replace files after work begins?
Contact us immediately. Replacing source files after editing, mixing, or mastering has begun can invalidate completed work and may require additional charges.
Do you require a deposit?
Yes, in most cases, a 50% non-refundable deposit is required at the time of booking or before remote work is scheduled to begin, unless otherwise agreed upon in advance.
Do you offer payment plans?
Payment arrangements depend on the project and service. Larger projects may sometimes be divided into deposits and milestone payments when agreed upon in advance.
Can you create a custom package?
Yes. Multi-song projects, albums, recurring productions, and projects requiring several services are normally quoted as custom packages.
Let’s Collaborate!
Whether you need one vocal recorded correctly, an entire album mixed and mastered, a commercial Dolby Atmos release, damaged dialogue restored, or a complete soundtrack built from the ground up, Deadly Mix Studios is ready to help.
Tell us what you’re creating, what you currently have, and where you need it to go.
