Send me your project files via a cloud service or direct attachment — stems, mixing notes, reference tracks, demo mixes, whatever you’ve got. I’ll load everything in, check the files are clean, and properly listen to what you’ve built. From there we talk. I need to understand your vision before I touch a single fader.

Once I’ve done my first pass at the mix, I’ll upload a reference for your review. You listen, send notes, and we dial it in — back and forth until you’re genuinely satisfied with where it sits. All of this happens within the agreed revision window. The quicker you give feedback, the more ground we can cover in that time. Final delivery is a high-resolution file, clean and ready.

All pricing is listed clearly on the pricing page. There are two service tiers — Exclusive Audio Mixdown, and Mixdown + Mastering — each with a single-song rate and a bulk rate for 3 or more songs.

Turnaround is counted from the moment I’ve received and verified your files, to when I deliver the first output. The exact window depends on the service tier you select — you’ll find it listed on the pricing page. For bulk projects, we agree on the schedule together before work begins.

After I deliver the first mix, the revision window opens. That’s the period we have to go back and forth — your notes, my adjustments — until we land somewhere we’re both proud of. Once the window closes, additional rounds carry an extra fee. Think of it less as a limit and more as a structure that keeps the project moving forward. The window period for each tier is listed on the pricing page.

I accept WAV or AIFF for all mixing and mastering work. You don’t need to have the same software I use — the cleanest way to transfer a project is to render every track (and every virtual instrument) to an individual audio file, all starting at the exact same time. I import them, line them up, and I’m ready to mix.

That said, I own several of the most popular DAWs — Ableton Live, Cubase, Reaper, Reason, FL Studio, and more. If you’re working in one of those, you can send the project files directly and I’ll likely be able to open it. Even so, any virtual instruments or plug-ins unique to your setup will still need to be rendered to audio first. Contact me if you’re unsure — we’ll figure out the cleanest handoff.

Render every track and virtual instrument to individual, contiguous audio files that all start at the exact same time. I should be able to import them, snap them to bar one, and have your arrangement play back exactly as you intended. Test this yourself in a blank project before sending. For drums, I need each element as a separate file — kick, snare, hi-hat, toms, overheads. A single pre-mixed drum bus gives me nothing to work with.

Disable all effects and processing (EQ, compression, reverb, delay, saturation, etc.) on every track before you render, unless the effect is physically part of the sound design. A track that arrives already processed limits what I can do to it. If you’re unsure about a specific effect, render the wet and dry versions separately and label them — I’ll sort it out.

Clean your tracks before you send them. Solo every track and listen from top to bottom. Remove any noise, bleed, or pops that don’t belong. Your recording engineer should handle this as part of the production process. If I have to do it on my end, that’s additional billable time.

Name your files clearly. If I have to guess what a track is by ear, that’s time wasted that could go into the actual mix. “Vocal_Lead_Verse” is always better than “Audio_03_final_FINAL”.

Render at the same bit depth and sample rate you recorded at. If you recorded at 24-bit/48kHz, keep it there. Don’t upscale — it doesn’t add quality, it just adds file size. Do not change the sample rate on individual tracks; that kind of conversion belongs in mastering, done once, at the highest quality.

Stereo tracks should be rendered as interleaved stereo files. Mono tracks as mono files. And under no circumstances should you render tracks as MP3s — send uncompressed WAV or AIFF only.

Only send files that are part of the project. Export to a clean, dedicated folder and double-check its contents. Unused or mystery files cause confusion and slow everything down.

Upload your files to a cloud storage service — Dropbox, Google Drive, OneDrive, or pCloud all work well. Zip the files before uploading to save time — I can open ZIP, RAR, and 7zip archives.

For a single song, put everything in one clearly named folder. For multiple songs, use a separate folder per song, then archive the whole thing. If you need a hand with any of this, just reach out — I’m always happy to walk you through it.

During the revision process, I’ll send you high-quality MP3 references for your review. Once we’re both satisfied, the final stereo mix is delivered as a 24-bit WAV at the project’s original sample rate — fully print-ready for mastering or distribution.

If you also hire me for mastering, the final master is delivered as a 24-bit WAV, loudness-normalised and ready for streaming or physical release. All files come via the same cloud service you used to send me your stems.

Absolutely. If you need alternates — a cappellas, instrumentals, clean edits, radio edits — just let me know upfront so I can plan for them. Simple alternates come at no extra charge. Anything that requires significant additional setup will carry a small additional fee.

The fee covers the full mix from start to finish: the first output at turnaround, all revisions within the revision window, and the final high-resolution WAV delivery. Any agreed-upon alternate mixes (instrumentals, a cappellas, etc.) are included if discussed upfront. If your tracks need editing, tuning, or cleaning before they’re mix-ready, that work isn’t included and will be scoped separately — ideally, that’s handled on your end before the project comes to me.

I accept electronic payments via PayPal to reefagbemiofficial@gmail.com or reefagbemi@reefagbemi.com. Work begins once payment has cleared. If you’re based in Nigeria and prefer a direct bank transfer, reach out and we’ll sort it.

Track engineering — mixing and mastering — is the core of what I do, but it’s not the limit. I’ve produced, composed, arranged, recorded, mixed, and mastered music across a wide range of artists and styles. If you have a project and you feel like there’s something in my work that connects with yours, reach out. The scope of what we do together tends to define itself once the conversation starts.

Yes — head to the portfolio page. It’s kept current. You can also find me on the social links in the contact section if you want to follow along more closely.

Not as a standard rule. What I do offer is the commitment that I won’t close a project unless you’re genuinely satisfied with what we’ve made. In select cases — particularly for full-project work — there may be room for a custom rate. Reach out and we can talk about it.

Don’t hesitate — send me a message and I’ll get back to you.