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The price of a mix depends on many factors: number of tracks, complexity of the project, condition of the delivered files, and deadlines. Rather than displaying a fixed rate, I prefer to discuss directly with each band to offer a solution tailored to their project and budget. Feel free to get in touch — every request is taken seriously, regardless of where you are in your career.

As with mixing, the price depends on the project: number of tracks, desired output format (streaming, vinyl, CD), and urgency. I prefer to discuss it directly with you rather than applying a rigid rate card. Get in touch and we’ll find a solution that fits your budget and needs.

For the best results, export each track separately (stems) from your DAW, without effects or compression on individual tracks — unless an effect is an integral part of the sound you’re going for. Keep the sample rate and bit depth of your session (ideally 44.1kHz / 24bit minimum). Name your files clearly (Kick_In, Snare_Top, Guitar_Left, etc.) and avoid any clipping. I provide detailed guidance to every new client to make sure files arrive in the best possible condition.

I work in WAV, 24bit minimum, at your session’s sample rate. Avoid MP3, which compresses and permanently degrades the audio signal. All files must start at the same point (bar 1 of your session) so assembly is immediate. For delivery, I use a dedicated transfer platform accessible directly from the website.

Turnaround times vary depending on current workload and project complexity. On average, allow 1 to 2 weeks for an album mix and 1 to 2 days for mastering. For urgent projects, contact me directly — I do my best to accommodate each band’s deadlines.

Mixing involves assembling, balancing and sculpting all the tracks of a recording to create a cohesive and powerful result. This is where we work on the sound of each instrument, dynamics, effects and the depth of the mix. Mastering is the final step: the stereo mix is processed as a whole to optimize its level, tonal consistency and compatibility with all distribution formats (streaming, vinyl, CD). Both steps are complementary and essential to achieve a professional sound.

There’s absolutely no need to record in a studio to get a professional mix. A large part of my projects are mixed from files recorded at home. What matters is the quality of the recording and the preparation of the files. A well-recorded guitar, an acoustically treated room for vocals, a well-miked drum kit or a good DI — I can work with all of that. I provide personalized advice to every band to maximize the quality of their recordings before sending.

A modern metal guitar tone relies on several key elements: a good DI recording (Direct Input), a quality amp or amp simulation (I work with Neural DSP, whose roster I’m part of as an endorsed artist), and careful reamping when needed. Tuning, the guitarist’s playing and string quality have just as much impact as the gear itself. You don’t need a high-end amp — a well-played DI will always deliver better results than a mediocre amp poorly recorded.

Reamping involves re-recording a guitar or bass track captured as a DI (direct signal, without amplification) by running it back through an amp or amp simulator after the fact. This allows you to choose and refine the instrument’s tone once the recording is complete, without any time pressure in the studio. It’s a widely used technique in modern metal because it offers total flexibility over the final sound and guarantees consistency across all guitar tracks.

I specialize in modern metal and its subgenres: Metalcore, Deathcore, Progressive Metal, Modern Metal and Rock. This is the world I’ve been evolving in for over 20 years and where my expertise is at its sharpest. If your project falls outside this scope, don’t hesitate to reach out — I’ll consider every request with genuine interest.

Yes, my entire workflow can be done remotely. I collaborate with bands from all over the world without it affecting the quality of the result. File delivery, exchanges and revisions are all handled through dedicated tools accessible directly from the website. Distance is no longer an obstacle — what matters is the project and the sound.

Once your files are received and checked, I start the mix and send you a first version for approval. You listen on your own systems and send me your feedback in writing or via a dedicated feedback tool. We iterate until you’re fully satisfied with the result. All exchanges are done by email or messaging — no need to be available in real time. It’s a tried and tested process that works just as well, if not better, than an in-person session.

I use a dedicated transfer platform accessible directly from the website. You drop your stems there, I receive an automatic notification and confirm receipt once the files have been checked. No WeTransfer links that expire, no Dropbox links that stop working — everything is centralized and secure in one place.

I systematically include multiple revisions in every project — my goal is for you to be fully satisfied with the result. In practice, a well-prepared project rarely requires more than two or three rounds of feedback. That’s why I place so much importance on the brief before starting: the more aligned we are on the desired sound from the outset, the smoother and faster the process.

Yes, absolutely. A large part of the bands I work with are unsigned or in the process of signing. What matters to me is the quality of the project and the band’s commitment to their music, not their follower count or whether they have a label behind them. Some of the most interesting projects I’ve mixed came from completely independent bands.

Yes, and it’s often what makes the difference. Beyond the technical work, I support certain bands in a more comprehensive way: artistic direction, sonic consistency over time, single selection, release timing, genre positioning. The goal is to make the band “label ready” — meaning ready to sign with a label or to develop professionally and independently. This is something I offer on a case by case basis, for bands with whom there is a genuine shared vision. Parallyx and Hurakan are good examples of this approach.