I'd like better production quality. Any takers?

[PeterD]

Hey everyone!

So I've heard my writing and arranging is decent, but my production could use some help ...

Anyone know what's involved with this across the world? I hear it's a matter of sending over each bone dry track, and having them reassembled on the other side by someone more qualified? Is this true?

Does the DAW matter? Do both take credit for the completed song?

Curious,

[Len911]

Hey everyone!

So I've heard my writing and arranging is decent, but my production could use some help ...

Anyone know what's involved with this across the world? I hear it's a matter of sending over each bone dry track, and having them reassembled on the other side by someone more qualified? Is this true?

Does the DAW matter? Do both take credit for the completed song?

Curious,

I suppose there are a number of ways to send the tracks. One way might be to upload each wav or aiff on your soundcloud, make them private, share the link with whom would be downloading them. The daw doesn't matter if you are sending audio files.
A mixer or master person shouldn't get credit as a songwriter I wouldn't think. I'd recommend placing a sync tone at the beginning of each track. You can download one here, and there are also a couple of tutorials explaining the importance of having them. http://www.kompoz.com/compose-collabora ... ctId=12659
It might also be beneficial to send your initial mix to be used as a reference.

I suppose the "more qualified" would be determined by you!

Another way, would be to post the audio tracks on something like drop box and then send the links to the person to receive them. http://www.dropbox.com

[nick.moxsom]

Here's how I typically do it, Peter.

I send someone a rough idea via email, as an MP3. If that person wants to get involved, and after we've agreed on terms (either to go 50/50 on a co-write or I pay them a work-for-hire fee), I upload my .wav files to DropBox or Hightail. (Make sure all audio files start at zero bars and beats in your DAW, and let your collaborator know the tempo, in beats per minute.)

They download the files from DropBox into their DAW, do whatever over the top, and then upload those new tracks back to DropBox. You can then slot them into your session and mix as you wish. Just make sure you agree terms first !

Nick

[Russell Landwehr]

Also, just a recommendation, when I share individual tracks for mixing (and when I get tracks for mixing) I put from one to four measures of pre-roll in there... (just slide all your tracks to the right before breaking out the stems) The way I see it, it's nice to have that space at the beginning in case I or the collaborators want to add a little sumpin' sumpin' to the beginning. It makes them easier to drop-n-play if the tracks come back or get sent back with that little extra.

Russell

[AndyKotz]

I can provide you the quality you seek. Just ask Nick!!
I work for hire and you have no worries...

Check it all out at:

www.akmusicproductions.com

[funandprofit]

The answer somewhat varies on your style of production. A good rule to follow is to prep your session for mixing. This includes removing from your session any unused or hidden tracks, deleting hidden playlist and audio files, gain matching comped performances, and "flattening" heavily edited audio tracks. The more simple, straightforward, and coherent your session is when opened, the less chance there is of something going wrong.

For essential plug in and VST instrument instruments that are not available on your mixer's system, you will have to render "stems," stereo audio reductions, of those tracks. You should leave a plugin active (or print) if it's fundamental to your sound, e.g. a guitar amp VST. Another wise idea is to always include a rough mix. You're ideas are usually quite helpful to the mixer. Best to leave reverb and ambience-type delay plugins modifiable by your mixer, as often they can hear these things better and/or have better gear. Likewise for EQ and compression. Though the general rule of thumb is, "If you love it, leave it; if you need it, print it."

Good mixers are often able to correct mistakes and add creatively to the mix, but keep in mind there is tremendous overlap in the skill set. Editing, production, arranging, mixing, and even performance are all skills a great mixer must possess to make a song great. As a rule, when selecting a mix engineer, first to listen to their past mixes (especially within the past few years.) Don't be duped by big credits doing other duties. Joe Superstar's live sound guy may turn out to be only an average mixer. Don't be impressed by gear and credits; trust your ears and your instincts when you interact.

Cash or credit? LIkely a good mixer will want some cash either way, but royalties is one negotiating item you can offer. Really well prepped mixes and a helpful, competent vibe are other prized qualities. Cash really motivates, let me tell you. If they really believe in your stuff they might be more into the idea of points but not always.

Hope this helps.