Prepare a mixing or mastering handover: files, references and feedback

Define the work you are requesting

Mixing works with the balance and treatment of the recording’s elements; mastering usually begins with an approved mix and prepares the resulting recording for its intended release. Describe the actual problem before choosing a service. If you need a different vocal take or a changed instrument balance, explain it rather than assuming a final stereo mastering pass can isolate and replace everything.

Ask for the engineer’s requirements

Confirm the requested format, resolution, channels, headroom, processing variants and file-delivery method for the job. Sonarworks’ preparation guidance notes that engineers have different preferences; avoid treating a single internet number as every engineer’s requirement. Keep the original session and approved rough mix. Do not remove intentional processing or export extra variants blindly without explaining what they represent.

Make a practical handover sheet

• Project and track title, version and intended use.
• Named decision maker and one current approval contact.
• Exact filenames and what each file contains.
• Tempo or session information where relevant to the agreed mixing work.
• Reference links and the specific characteristics you want to discuss.
• Known problems with timestamps and any changes still awaiting approval.
• Agreed scope, deliverables, price, deadline and revision arrangements.

Send the right materials for the scope

For ordinary stereo mastering, ask which approved mix export the engineer wants. For mixing, confirm the requested session or multitrack exports, alignment, included effects and any required dependencies. Stems are grouped exports and are not automatically the same as individual recorded tracks. A shared folder is only useful when the recipient can identify and open the intended files. Check the actual upload after transfer and keep private credentials out of the handover.

Use references to communicate a goal

Choose a small number of legitimate listening references and name the aspect you mean: vocal position, bass relationship, tonal character or dynamics. iZotope’s guidance emphasises level matching and comparable sections when using references. Keep the comparison at comfortable monitoring levels. A reference explains an intention; it does not grant permission to copy another recording or require the engineer to reproduce it exactly.

An original feedback example

Instead of “make it sound professional”, an artist writes: “At 01:12 the vocal becomes hard to follow when the guitars enter; keep the brighter chorus energy but improve the lyric clarity.” The engineer can assess whether that needs a mix revision or mastering treatment. The team sends one consolidated set of approved notes, keeping an earlier draft separate. This is a hypothetical communication example, not a fixed revision entitlement.

Send one versioned feedback message

Put the project name, returned filename and revision date at the top. Group agreed notes by track and timestamp, distinguish a correction from a new creative request, and name the person who approves the next version. If band members disagree, resolve the notes together before asking the engineer to make conflicting changes. Keep the previous file until the replacement has been checked.

Approve and archive the final version

Listen to the actual returned file, confirm the ending and version, and record the approval before distribution. Use the delivery-file checks and the streaming loudness guide for the next stage. DistroBolt Human Mastering is a separately ordered service. Review its current deliverables and revision terms before requesting work. If you need mixing, session conversion or a different file setup, ask the team to confirm the scope and usable materials before sending them.