Mixing, mastering, production, and the marketing I taught myself. Every price is on this page. If one isn’t listed, it’s quoted on a call. Everything here is the same whether you’re one artist or a label with a roster.
You do not need to know what the service is called. Pick the one that sounds like you.
Send one song. You get back what’s working, what isn’t, and what I’d fix first.
$40A one-page PDF, emailed.Back within 3 working days
This is the document that lands in your inbox. Read a real one before you pay.
See the PDF sample Send a songForty-five minutes on your catalogue, your brand and what to do next.
$140Where your catalogue is leaking moneyThe one move that matters next, and whyNext steps in writing, within 2 working daysNot for you if you haven’t finished a song yet
Book a callSend your final mix. It comes back ready for release.
$105 per songA 24-bit WAV at your sample rate, a 16-bit / 44.1 version, and an MP3.Back within 5 working daysOne revision included, $20 each after.
Send a mixSend your session. It comes back mixed and ready to master.
From $350 per songI price it after I hear it — a programmed track and a bleeding live drum kit are not the same job.A stereo WAV, instrumental and a cappella versions, and stems with the treatment printed in.Stems, not the session file — the plug-in chains stay with me.One revision included, $50 each after.
Send me the songBring the idea. I write it with you, find the melody, build the track. Ready to mix.
Priced after a callYou get back a rough mix and the stems — not the session file.Mixing and mastering are separate.Changes happen while I build it, not after — you sign it off before you voice it.
Book a callYou’re doing all of it at once — music, content, releases, money — and none of it is connected. Two sessions a month to put it in order.
Priced after a callTwo 60-minute sessions a month, one to one. We start with your brand.Your brand, where the money actually comes from, and how to collect it.Written next steps after every session, within 2 working days.The sessions are the work — I’m not on call between them. Cancel any month.Coaching only. I take no rights and no cut of your income.
Book a callBoost a post and the numbers move for a week, then die the day you stop paying. That is rented attention. A campaign builds something that stays.
$650 per campaign, or 20% of ad spend — whichever is higherAbout four weeks. One campaign can be a single, an EP or a whole project.This is my fee. Your ad budget goes to Meta separately — $500 minimum per campaign.I cut the ad videos and build the landing page they point at. Both are in the fee.It runs inside your own ad account, on partner access. I never see your login or your card.You keep the pixel, the data and the audience when the campaign ends.
Book a callMixing, mastering and production on an EP or album are quoted individually. Book a call.
Chased out of studios and told I wasn't good enough, so I taught myself to record. The engineer left, so I learned to mix. Nobody would give me a beat, so I learned to build them. No money for a studio, so I begged my family and booked one anyway.
That list looks like a win. It isn't, quite. Learning all of it took time away from the thing I actually am, and I lost sight of where I should have been putting my time. It might be the reason I am not further along as an artist. I will never know.
So I am not telling you to do what I did. I am telling you the opposite. I learned these jobs because nobody would do them for me. You do not have to, because now somebody will.
Independence is not doing every job yourself. It is owning what you make. You can own your masters, your publishing and your audience — and still hand the mix to someone who does it all day.
You paid for the record, so the record is yours. I take no points on it and no share of it, ever.
The song itself is split the way the industry splits it. If I build the track from scratch, I hold 50% of the publishing on it. If I write with you as well — lyrics, melody — we agree that share before we start, and write it down the same day. The split sheet is signed when the song is finished, and nothing on it will be new to you.
You will never find out later what you gave away. That is the whole point.
Every credit below is registered in my name at BMI, with a work number and an ISWC. Search “Davis Steven Adolphus” on BMI Songview and read it yourself — so you are not taking my word for it.
The orange player that follows you down the page is my own catalogue. I mixed and mastered every track in it. Press play while you read — that’s the sound you’d be buying.
I wrote those songs. On seventy-four of the seventy-six in my catalogue I also composed them, mixed them, mastered them, and I still own the masters.
Everything above is numbers. This is the sound. UNSTOPPABLE, three times: my rough session, my mix, my master. Nobody else touched this record.
Listen to the two voices. Mad Sam’s tone is deep and rough. Mine is a light singer’s tone. Two different treatments sitting in one mix — that’s the part that’s actually hard.
These are the real session files, not clips cut for a website. Full song, three times. I have not level-matched them — loudness is part of what a master does, and flattening it would hide half the job. The demo clips. That’s what an unfixed recording sounds like.
I produced this record — creative and technical control of the whole thing, which is a different job from making the beat, though I did that too. I arranged it, played every instrument, sang every background vocal and the lead. I’m the sole composer — the music and the melodies are mine. I recorded it, mixed it and mastered it. Mad Sam sang his section and co-wrote the lyrics with me. He holds 5% and his own publishing.
Production, mixing and mastering are three separate services on this page. This is one song, and it is all three.
Released 10 April 2026 on my own label, with its own ISRC and UPC. The master is mine — I’m the artist and the rights holder. The publishing is a separate asset: splits filed at 95/5 through my administrator.
And that part isn’t a one-off. I own 72 masters — including the records by the artists credited above. I claim both sides of SoundExchange myself, rights owner and featured artist, instead of letting a distributor take a cut of one and leave the other unclaimed.
I direct and edit every video as well. The whole catalogue is on this site, and so is every video. Go through it — all of it is mine.
One song. Eight campaigns between March 2024 and January 2026. Nothing has run since. Every figure below comes off my own Meta Ads and Spotify for Artists exports, pulled on 11 September 2026.
I learned the basics from a free YouTube channel. Everything after that I worked out myself, one campaign at a time, with my own money on the line.
And here is where those numbers come from. My own Spotify for Artists account on 11 September 2026 — nothing cropped, nothing tidied up. Four windows, and they are the same four totals quoted under the chart above. Click any of them to open it full size.
Last 2 years — 295,332 streams · 105,023 listeners · 7,325 saves
And the spend side. This is Meta Ads Manager with the date range set to Maximum, showing the March 2024 campaign — the first one I ever ran on this song — sliced three ways. €4,295.50 of the €12,391 above. One campaign out of eight. My ad account and business ID numbers are covered with a solid block, and the browser tabs above the address bar are cropped off. Nothing inside the page itself is touched.
Of course it dipped. An ad reaches plenty of people who were never going to care, and the day you stop paying, those people go. There has to be a dip — anyone who tells you different has never run one. The only question that matters is whether it dips back to where it started. Mine didn’t. And I am not going to tell you it holds flat, because it doesn’t: it is still settling, month by month. It has just been settling a long way above the line it began on.
Only one song was ever advertised. The rest of my catalogue is the control. Two thirds of everything I get today is on songs I never spent a cent promoting — and the biggest of them came out four months after the last campaign ended. Nobody was ever shown an ad for it. Those listeners were already there, and they came back for new music. That is what I mean by a fan base, and it has a date on it.
One more, because it cost me €789 to find out and you can have it for nothing. I ran the same song into Brazil, Germany and the US/UK inside nine days, on near-identical budgets. Brazil reached four times as many people per euro. The US and UK converted four times better, and ended up the cheapest action of the three. Germany sat between the two on reach and came out the most expensive action of all three. Cheap reach is not cheap results — and most people selling you ads have never paid to learn the difference.
And here is what I am not going to tell you. I cannot show you a cost per stream: new releases, the rest of the catalogue and plain luck are all mixed into that number, and pulling them apart honestly is not possible. I cannot promise you the same result — nobody can, and anyone who does is selling you something other than ads. What I can tell you is that I paid for every one of these lessons myself, on my own record, and I will run your campaign the way I ran mine.
Mastering: one stereo WAV, 24-bit, at the sample rate you worked at — don’t upsample it. Take the limiter off your master bus and leave the peaks between −6 and −3 dB. No MP3, no dither.
Mix — first: a link to a rough stereo bounce — a private SoundCloud, Drive, Dropbox, anything that opens. Hit Send me the song on the Mix card and paste the link there. Nothing to upload, and nothing to pay yet. Once I’ve taken the job: stems, WAV, 24-bit, same sample rate as your session. Every stem from bar one to the end, including the tails. Keep your own EQ and compression on them — that’s part of how the song sounds. Leave the reverb and delay off: printed in, I can’t take them back out, and placing the song is the job you’re paying for. Your rough bounce already tells me how you heard it. If an effect IS the part — a tremolo, a filter sweep, distortion you wrote around — print it and tell me which ones. Take the limiter or clipper off the master. Name them so I know what I’m opening.
The Autopsy: a link to the song, wherever it lives.
Production: nothing. It starts with a call, and everything gets decided on the call.
The Autopsy: three working days.
Mastering: five working days.
Mix: I come back on the song within two working days. If I take it, your first listening copy lands inside seven working days, counted from when I have your stems.
Production: I come back within three working days with how I’m hearing it. After that there is no delivery date to wait on, because you are in it with me — you hear the track as it is built and you sign it off before you voice it.
If something is going to take longer, you hear it from me before the deadline, not after.
One round on a mix, one on a master. After that, a further revision on a mix is $50 and on a master is $20.
A round is one set of notes, not one change. Send me everything you want looked at in one go and that is one round.
If you change the mix after I have started the master, that is a new master rather than a revision. I will tell you before I start anything that costs more.
Mixing and mastering get rounds because you hear the finished thing for the first time when it lands. Production and The Autopsy do not, and for different reasons.
Production is not a send-and-wait job. I build it, you hear it, you come back — change this, add a bridge — and it moves on from there. You do not have to be in the room or even in the country, but you are in the process, and you sign the track off before you voice it. The changes happen while it is being built, not after.
The Autopsy is not revised. I listen to your song as many times as I need, privately, and then I write it up — those notes are the finished job. If you change the song and want it heard again, that is a new Autopsy.
The Autopsy: a one-page PDF, emailed — what’s working, what isn’t, and what I’d fix first, with timestamps you can hand to your engineer.
Mastering: a 24-bit WAV at your sample rate, a 16-bit / 44.1 version, and an MP3.
Mix: a stereo WAV, instrumental and a cappella versions, and stems with the treatment printed in.
Production: a rough mix and the stems.
You do not get the session file or my plug-in chains. That is the part you are paying me for.
A sample Autopsy — click to open it full size
Quoted on a call, not off a price list — the work changes depending on what you send me.
On multi-song projects it is 50% up front and 50% when you approve the last track.
Book the call and bring the songs.
Forty-five minutes, $140. We work out what your music actually needs before you commit to any of the work — and you leave with the next move in writing either way.
Book a call