Using our track submission page, for each song send over:

1. The approved mix

2. A version of the mix(es) in the original sample rate and bit depth as their mix session with no limiting, and ideally nothing on the master bus unless it's something that that could be considered "part of the sound." If you're unsure, send two versions and we’ll work with whichever version gets the best result.

3. 1-3 reference songs for each song you may have in mind that you want your music to sound sonically competitive with, such as if it were to be played back-to-back on a playlist or on the radio.

Preferably print mixes as 24-bit or 32-bit floating point WAV/AIFF.

Acceptable sample rates:
• 44.1, 48, 96, or 192 kHz at the original sample rate as the mix session. Do not up-sample or convert

Not preferred but acceptable:
• 16-bit, MP3, AAC/m4a (if these are the only sources available)

Archival mastering and audio restoration focuses on bringing older recordings into modern listening environments while respecting their original character and artistic intent. 

Typical work includes:

• Working from high-resolution tape transfers, or the best available archival sources

• Correcting level, EQ, and tonal imbalances between tracks and sides

• Refining stereo image stability, phase relationships, and spatial balance where appropriate

• Targeted correction of harsh or unstable elements using modern restoration methods

• Transparent noise reduction and artifact repair (de-clicking, distortion, wow, flutter, tape anomalies, etc.)

• Level-matched A/B comparisons against prior releases to ensure meaningful sonic improvements.

• Preparing deliverables for digital distribution, CD, vinyl, and other reissue formats

The aim is not to rewrite history, but to reveal it. We use the most advanced restoration tools available, including pre-release technologies we beta-test for companies like iZotope, to present these recordings with greater clarity and fidelity than was previously possible. In practice, archival work is always a balance between enhancing what genuinely benefits the music while leaving untouched what defines its spirit. 

Stem mastering is when you send a handful of grouped stems (e.g., drums, bass, vocals, music) instead of a single stereo mix. This gives the mastering engineer more control to tackle specific mix issues or help mixes maintain clarity when they need an extra push to compete at the louder end of modern loudness levels.

We don’t default to hyper-compressed loudness for its own sake, but if your genre or vision calls for an aggressive, high-energy master, stem mastering can often help give a mix an extra push without having to make the sacrifices you’d otherwise run into when trying to achieve the same loudness from a normal stereo master.

If you’re considering stem mastering, send a preliminary bounce and we’ll point you toward the best and most cost-effective approaches.

Here are three common situations where stem mastering is useful:

1. High-end/brightness limitations

Sometimes a mix could benefit from having more top-end energy, but the hi-hats, cymbals, or high percussion elements are already as bright as they can get before becoming harsh. In that case, you can send:

• Stem A: hi-hats/cymbals/high percussion

• Stem B: the rest of the mix

This allows room to brighten the mix while blending the already bright material back in at a comfortable level.

2. Low-end not translating

Rooms with poor low-end treatment (bedrooms, square rooms, less than optimal mixing environments, etc.) can make it difficult to judge sub-bass, bass, and kick levels accurately. For competitive low-end translation, you can send stems such as:

• Sub-bass/bass

• Kick

• The rest of the music

This allows flexibility in mastering to dial the low-end to be balanced precisely in our accurate mastering studio so you can trust that it will translate on all playback systems.

3. Extra polish/grouped stems

Sometimes artists or mixers want an additional layer of polish and prefer sending summed groups (vocals, kick, snare, drums/perc, instruments, FX, etc.). This is a premium option and begins to overlap with mixing, so rates may vary depending on the number of stems.

Important note:

Stem mastering is not a replacement for mixing. It’s still a mastering process, just with slightly more flexibility. If more than four stems are required, the project may shift into mix territory and the rate may change accordingly.

It depends on the material. 

We always seek to respect the provenance of the source. Older recordings carry the aesthetics, limitations, and decisions of their era, and that context informs our decisions on how we approach them.

At the same time, today’s restoration tools allow us to address aspects of a recording previously not possible. These include issues such as harshness in specific elements, unstable stereo image, lack of definition in specific instruments, undoing previous over-compression/limiting, adding dynamic nuance, extending low- or high-frequency information on bandwidth-limited transfers, correcting tape inconsistencies, and more. 

We approach each project with the question “how can we make this sound the best we can make it sound?”

Sometimes the best approach is to leave the vintage character exactly as it is. Other times, subtle modern refinements reveal clarity and musical detail that were always there, but were previously obscured, especially in cases where earlier reissues were sourced from sub-optimal “needle-drops” rather than high-resolution tape transfers.

We never over-compress or chase loudness for archival work. Our goal is to use the best tools available to breathe new life into older recordings so they can be discovered and enjoyed by new audiences without losing their identity.

3-5 business days for single standard masters and stem masters.

7-10 days for full-length albums.

Rush options may be available for time-sensitive projects for an additional fee. Let us know your timeline and we can work together to accommodate your needs.

With advance planning, clear communication, and thoughtful preparation, EP and album projects can often be turned around in just a few days.

Each master includes up to two rounds of revisions at no additional charge. Most projects are approved by version 1 or 2, and while the policy includes two revisions, we are reasonable about small additional tweaks when needed.

If you update your mix after mastering has begun, minor mix adjustments are typically fine at no extra cost. However, if the new file requires reworking the chain or running a new pass, it is treated as a new master, and additional fees apply.

For this reason, please double-check your mixes before submitting them.

Yes, we offer adjusted masters tailored for vinyl. That includes re-setting the limiter to meet proper cutter headroom, EQ’ing for vinyl-friendly frequencies, managing low end compatibility, addressing sibilance and other quality control elements, sequencing and exporting the sides to spec, all the while making sure the final sound reflects the original creative intention and energy of the mixes. Please provide the name of the vinyl plant you plan to go with when you reach out and we will adhere to their delivery specifications sheet (most vinyl plants have them).

Yes, we can deliver supplemental ADMs that adhere to Apple’s delivery specs. This option is selectable as an additional deliverable on our track submission page.

We accept payment via Zelle, Venmo, bank transfers, and PayPal. Payment instructions will be listed at the bottom of the invoice.

Upon approval of the main master(s), additional deliverables such as alternate mixes (instrumentals, Acapella, TV mix, etc.) will be printed.

Yes. Eric Bard has mixed music for artists including Halsey, Madison Beer, Skylar Grey, Jaden Smith, Lido, Emeline, Chika, Will Swinton, Jamie Miller, Baby Jake, and many more. You can find mixing examples here: Eric Bard Mixes. He also has orchestral and score-mixing experience for film, including Fly Hard (HMMA winner for Best Original Score, composed by Daniel Rojas).

Eric has also dub mixed various films including:

• Jesus 2, directed by Jesse Moynihan (2025 Sundance Best Short Film nominee, and current Oscars short list candidate)

• Fall Out Boy’s “Love From The Other Side” (2023 MTV VMA nominee)

• “Smiling Symphonies” Adult Swim bumper for Smiling Friends, directed by Aron Fromm (score mix and dub mix)

• “Rick and Morty: The Animated Series” Adult Swim bumper for Rick and Morty directed by Aron Fromm (score mix and dub mix)

Reach out to inquire about mixing services at either our track-submission or contact pages.