We strive to offer top-tier mastering at a price you can actually afford. Every project is different, so exact quotes are given after we communicate about your detail. Here are our typical price ranges:

Singles: $125 

EPs: $350-$650 

LPs: $700-$950 (average can be around $80/song)

Atmos/Spatial: $125-$500 (see below)

Our estimates are based on three things:

1.  The number of songs.

2.  The overall length of the project.

3.  The additional formats that might be needed (CD/DDP, Vinyl, Instr. Atmos/Spatial, Cass., etc)

Atmos/Spatial Mastering

Singles from ADM BWF: $125

Singles from Stems: $160-$350 (avg. $240)

Singles from Multi-tracks: : $250-$ 600 (avg. $350)

Albums: $1000-$4000 call for specifics  (avg. in the middle)

Atmos/Spatial Mixing and Mastering can be affordable (in typical West West Side Music's Indie way). We're offering these price guidelines to show the range of what is possible. We suggest contacting us to discuss and we can give you an accurate price quote based on your catalog or assets. And yes, we can take your original two inch recordings and turn them into Atmos Masters.

This can only be answered if we hear what your mixes are sounding like, and what you desire you final Album to sound like. Even then, compression used on a mix bus can be an essential part of the mix, and just “taking it off”, could make things worse. We can sometimes suggest that project studios not compress their overall mixes (especially if you are not familiar with what limitations are created by over using two-mix compression). It is sometimes done poorly (irreversible) and we may therefore achieve better results here. We often listen to reference mixes (sent prior to final mixing) to evaluate the overall feel and compression of a mix. However if you are confidant in your ability to make this judgment, a great blend can be had on your own (if possible, print a mix with and without compression if you feel uncertain – that’s the best short answer).

We don't have a defined number of revisions for your project. Ask people we work with.  We're here to go the distance with you, as long as you're able to understand we do most of our processing in the analog world - which means recalling settings. We "may" discuss additional costs for re-mastering new mixes, but revisions are part of the process and making if the best it can be. 

Not at all, although many people do attend, and we suggest/recommend that you try to attend if you can. This is really up to you. Many of our sessions are unattended. Unfortunately, it usually takes longer to do a project while the band/artist is present. It’s just what happens. So when the budget is small, we may suggest that we do it unattended, and allow you to hear the progress and direction using the internet, via our secure FTP site for downloading.

DIGITAL: We suggest your mixes should be peaking at around -4dB on digital meters (always below 0 or dBFS Maximum). This gives us more room to work with to make your song sound better (however, please don’t feel the need to re-mix if your levels are lower or higher. Call us. This is just our initial suggestion if you are beginning or presently adjusting mixes). If overall album loudness is a concern for you, have confidence that we can and will make your music as loud as possible (obviously within limits that can be discussed). Your brick wall (maxing out the headroom) may prevent us from using processing here (talk to us if you have any concerns about this). This also doesn’t mean just trimming your 2 mix master fader to -4dB. This may just take your flatlined mixes down 4dB (which happens a lot). Please call us if you’re confused about this.

TAPE: OK, this is a tough one. Lots of people have various results with using Tape as a mixing tool or effect. Listening to your playback (repro head) and experimenting with tape compression is a great thing. But remember this is irreversible! If you have reservations about committing to this process, do a version with a lower recording level as well. We suggest you set your tape recorder to record at 320 nw/m (plus or minus 3 to 5 dB to your taste). If you are unfamiliar with calibrating your tape machines alignment, please call us. We can not easily do it for you, but we may be able to help or talk you through it.

1.    Don’t over-compress unless you’re certain you love what you’re hearing. Remember, you can always send us a copy with less compression as well.

2.    Always verify your mixes !  

3.    Leave some time in your production schedule to make changes. We do our best to get your project finished in the allotted time we’ve scheduled, but sometimes adjustments are necessary. Don’t rush what you’ve taken so long to get right.

On a technical side, mastering will prepare a final master formatted for replication, duplication, digital delivery or vinyl cutting. A verified error-checked master can be provided that will ensure the highest possible quality will be reproduced. On an artistic side, the mastering engineer can analyze the audio and makes decisions as to the overall tone, level and dynamic range of the music as a whole, and provides a uniform balance for the entire sequence. By using processes like compression, limiting, equalization and other signal processing etc., we can help make your record sound the best it can. With EQ we can clear up frequencies to make your record sound clearer and/or bigger. By using compression we can help glue the mix together and give your record a sonic fullness that you may be looking for.

This is all performed in an accurate control room with high resolution monitors. Using Digital editing we are able to cut out unwanted parts, making songs flow smoother while cleaning up beginnings and endings of songs and creating a more enjoyable sequence (we are also able to de-noise projects with a high noise level, talk to us before hand and we can make certain we will have all the right additional audio that may be helpful). There are also special effects we can add to your record. Let us know if you have any ideas initially. We would never add effects without consulting you first (Often these are production ideas that come about after the mix was completed, or that the mix engineer felt he could not adequately provide). Overall, the process should make your Album more listen-able on a wide range of playback systems, and bring it to it’s fullest potential.