Keep a common start point
Export every track from the same session point even when an instrument enters later. Initial silence carries timing information. If each file starts at its first sound, the mixing engineer must reconstruct the relationships. Preserve full endings, including reverberation and effect tails. After exporting, import the tracks into an empty session to check alignment. This is more useful than examining file sizes alone. If the song contains tempo changes or a free-time opening, explain them in the brief rather than expecting another engineer to infer them.
Use your session sample rate
We normally work with 24-bit WAV; keep the project sample rate unless another approach is agreed. Converting compressed audio to WAV will not recover lost detail. Likewise, do not convert a 44.1 kHz session to 48 kHz solely because a delivery example mentions that number. The destination may justify conversion, but it should be deliberate. Avoid independently normalising tracks, which can change relationships present in your demo. Check exports for clipping. If a source is already distorted, disclose it so options can be assessed without promising complete restoration.
Distinguish tracks from stems
A track usually represents an individual element, while a stem groups several elements. The terms are not interchangeable. A drum group permits fewer adjustments than separate kick, snare and other components. However, a group can be appropriate when its processing is part of the sound. Explain what you are sending. For important creative effects, an agreed processed version can accompany a clean one. Avoid duplicating everything without a reason: it increases transfer size and makes the intended file harder to identify. A short contents list helps verify completeness.
Name files for someone else
Choose names that identify function and version in a straightforward, consistent order. Distinguish a lead vocal from a harmony and an approved export from an old test. Personal information does not need to appear in every name. Keep a copy of the delivered folder so you can answer questions later. Print virtual instruments to audio: supplying a proprietary session does not guarantee another system has your plugins or licences. The stereo demo should accompany the tracks with a recognisable date or version. Avoid calling three different files final when none has been approved.
Explain intention and limits
Include tempo, structure, references and decisions you want preserved. A reference can illustrate depth, dynamics or the vocal-to-instrumental relationship; explain which aspect matters. Do not request an exact copy of someone else’s production. List known issues and identify sources that cannot be replaced. Mixing and mastering are different stages, and the quotation should state which you are booking. Two feedback rounds cover the agreed scope. New tracks or arrangement changes may affect price and timing. Gather comments with timecodes so revisions become understandable tasks.
Verify transfer and retention
Use the agreed transfer channel and check that every file has finished uploading. Do not share account passwords or unrelated material. Final outputs are agreed in writing: stereo mix, master or additional versions according to the booking. Working materials are kept for 6 months after delivery. Download the finals and retain your own copies in separate locations. Before deleting an original folder, open several files and confirm the backup is usable. For another project in Madrid or remotely, this check provides a useful starting point without assuming every job needs exactly the same package.
Final checklist
- Common start verified
- WAV and sample rate checked
- Tracks identified without needless duplicates
- Virtual instruments printed to audio
- Demo and references included
- Own copy of the delivered folder
Mixing and mastering. Contact and booking. Voiceover permissions and scope.