At Audio Animals, we work across all genres of music. There is no genre we haven’t worked with. Our engineers have extensive experience handling music from every corner of the world, and as an online mixing and mastering studio, we work with artists globally on every genre imaginable.

You can contact us via email, phone or social media. Full contact details can be found on our contact page here.

Phone: +44 (0) 7415 17 55 30
Email: studio@audioanimals.co.uk
Whatsapp: +44 (0) 7415 17 55 30

Yes, discount codes are available for most products. You can find them here and apply them in the cart at checkout. There are two discount options available: 5% off when you order 4 or more songs, and 10% off when you order 8 or more songs.

Yes you can listen to work we have previously mixed and or mastered on our previous work page here.

Yes, you’re welcome to call the studio at any time to speak with an engineer. If you’re overseas, you can also contact us via WhatsApp over an internet connection if that’s more convenient.

Phone: +44 (0) 7415 17 55 30
Whatsapp: +44 (0) 7415 17 55 30

Yes you can listen to work we have previously mixed and or mastered on our previous work page here.

While both studios deliver exceptional mastering results, Studio A is regarded as our primary stereo mastering studio, while Studio B is regarded as our primary mixing and mastering studio. We recommend choosing your studio based on your previous experience working with the mastering engineer. If you’re unsure which engineer to choose, simply select Unsure / Next Available from the menu, and we will assign the engineer best suited to your song.

Studio A (Nick Burchall) is Audio Animals primary mastering studio and the one we most often recommend. It features one of the finest mastering chains in the world, built around a truly unique selection of highly sought-after mastering equipment.

Studio B (Paul Ashmore) is Audio Animals primary mixing and mastering studio. Its mastering chain includes some of the industry’s finest digitally recallable mastering equipment, offering a more modern workflow and a contemporary sound.

All orders will be turned around within the time frame selected when placing your order. Turnaround time is based on days the selected engineer works between Monday to Friday. If you have a specific day you need your master back for, please let us know when placing your order.

• 1 Working Day (returned next working day)
• 2-5 Working Days (returned within 2-5 working days)
• 5-7 Working Days (returned within 5-7 working days)

Mastering is an essential process that finalises your song ready for distribution. Processing is applied to the master bus in order to achieve a sound that is glued together and sounding the best it possibly can. Processing includes EQ, compression, limiting, saturation, stereo widening, de-essing and other processing. Mastering in the hands of a professional engineer will achieve a wider, more detailed and controlled sound. Mastering ensures playback of your song is correct across all devices.

Stem mastering is the process of summing up to 25 stems together and mastering the summed stems across the master bus. The benefit of working in this way is that the engineer has control over each individual stem that is summing to the master bus. Resulting in being able to process and balance each individual stem correctly to get the very best from the song.

The main benefit of stem mastering is that the engineer has full control over each stem when mastering. For instance if the vocals are too loud we are able to decrease the volume without affecting any other stem. As well if the bass is too quiet, instead of using EQ to bring the bass volume up, which in tern brings up the frequency of other sounds in the frequency range, we are able to use gain to increase the bass stem independently of all other sounds in that frequency range.

Dolby Atmos mastering is a process that allows us to take your songs mixed stems and transform it into a Dolby Atmos master. Working in our Dolby Atmos mastering studios we are able to position and pan your song in a 3D space. Creating a fully immersive and spatial master that can then be released on streaming platforms such as Apple Music, Amazon and Tidal. The difference this service makes is outstanding and quite honestly takes your music to an unimaginable level.

There is technically no difference. Apple Spatial is what Apple call it and Dolby Atmos is what everyone else calls it. Apple spatial is played back through Apple’s own codec. All other streaming platforms playback using the Dolby Atmos codec.

By adding + Apple Digital Master to your order, you will receive back both the stereo master as well as the Apple Digital Master. This master can then be released on Apple Music as an official Apple Digital Master that is optimised specifically for Apple Music. All Apple Digital Masters are rendered at 96k giving them Hi Res Apple Digital Master badge on Apple Music.

By adding + Vinyl Master to your order, you will receive back an additional version of your master optimised ready to be pressed to vinyl. This master will be ready to send to your cutting house of choice. It is very important that a master optimised to be pressed to vinyl is used and not a master that is designed for digital distribution.

By adding + Additional Stereo Master to your order, you will receive back all additional mixes mastered through the same mastering chain as the original mix.

• Instrumental
• Acapella (vocal bus only)
• Performance Mix (version with lead vocal removed)
• Radio Edit (additional stems must be supplied)
• Extended Edit (additional stems must be supplied)

By adding + Stereo Mastered Stems to your order, you will receive back all stems provided mastered through the exact same mastering chain as the stereo mix. Mastered stems can be used for film and TV licensing as well as remix purposes and further production.

Orders / payment must be made before work on your song begins. This ensures our engineers, take the necessary time and care required to return you the very best master.

Mastering includes 2 revisions. Mastering revisions give you the peace of mind that the end result is going to be exactly as you want it. On the rare occasion you exceed 2 revisions, you can always purchase more via our revisions and re-runs page.

If you need to change the mix in any way after mastering there is a master re-run fee of £10. This small charge covers the engineers time to recall the mastering chain and re-record the updated master.

It is advised to remove all plugins from your master bus that effect dynamic range. This includes plugins such as compression or limiting. It is best to remove all plugins but we understand that some clients want to leave EQ or saturation active as it is part of their sound. The reason we suggest removing master bus processing is so that we have a mix that has full dynamic range and we are able to compress and limit at the correct stage of the mastering chain.

If work has not yet begun on your song, you can simply get in touch with us and replace the file.

If work has already begun on your song and you need to replace the mix for a new one. Two outcomes will occur.

If the mix is technically the same song and same mix but there is a change resulting in the song needing to be re-run. There is a small charge of £10 for a master re-run to cover the time the engineer must take to re-run your song.

If the mix is completely different or a different song altogether, a new order for mastering will need to be placed. The reason for this is because mastering will need to be started from scratch and the previous master scrapped.

Before sending your song always make sure that the mix is correct and the file you are sending is the mix you intend to be mastered.

Mastering is one of the most important parts of the engineering process of a song. Mastering can make or break a song. Too many artists fall at the final hurdle with poor quality mastering using either digital plugins or guesswork using AI mastering. A professional mastering engineer will ensure your music plays back correctly across all devices. Nothing comes close to a skilled engineer in a 100% accurate room using high quality analogue mastering equipment.

Your mix can be uploaded safely and securely via the upload page here or in your account here. Bypass any compression / limiting you may have on your master bus before printing your audio ready for mastering.

• File Type: Wav
• Bitrate: 16/24/32bit
• Sample Rate: 44,1kHz – 96kHz
• Headroom: -3db / -6db

It is not ideal but yes we can work with a limited or clipped mix. The approach to mastering a limited mix is similar but requires a very precise approach in order to ensure the song is not over compressed or distorted.

If a mp3 is the highest quality file you have and you are unable to obtain a high quality wav file, we will be able to work with this.

Stereo masters are returned in the following formats, if you require any others, please let us know: 

• 96kHz 24bit wav
• 48kHz 24bit wav
• 44.kHz 24bit wav
• 44.1kHz 16bit wav
• 320kbs 16bit wav

Dolby Atmos masters are returned in the following formats:

• 48kHz 24bit wav ADM
• 96kHz 24bit wav ADM
• 96kHz 24bit wav binaural mix
• 96kHz 24bit wav re-renders
• 768kbs mp4

Yes, if you would like to credit Audio Animals for the mastering of your music you can do so. Please credit Audio Animals Ltd and either Paul Ashmore or Nick Burchall as the mastering engineer. This is not required but is greatly appreciated.

There is no need to send raw multitracks. Instead, we prefer you send us your stems with the processing active. That way, your creative choices are included and ensures your song remains the way you intend it to sound.

• Include as much or as little processing on your audio tracks as you feel is essential to the character of your song.
• Any creative effects that define your sound should remain printed in the audio files.
• Leave EQ active if it contributes to your intended tone. If it’s purely corrective or mix-stage EQ, feel free to bypass it.
• Bypass compression unless it’s shaping the sound in a meaningful way or holding the performance together.
• Reverb can be removed if you’d like us to apply analogue reverb we feel suits the mix. Keep it active if it’s already integral to your sound.
• Delay is part of your production identity. Leave it active when it’s creative, rhythmic, or used only in specific moments of the track.
• You can leave panning in place, but removing it gives us more flexibility. If you decide to bypass panning, please include your preferred stereo positions in your mix notes.
• All vocal tuning and editing must be completed before exporting. Ensure breaths, clicks and unwanted artefacts are cleaned up.
• Always include a rough mix as a reference. This helps us confirm playback accuracy and ensure all creative processing is represented correctly.

Audio mixing is the process of combining and adjusting multiple audio stems together to create a balanced and cohesive mix. Various individual audio elements such as vocals, instruments, drums, and ambient sounds are blended together in a way that they complement each other and create a pleasing sonic experience for the listener. The goal of mixing is to achieve clarity, depth, and balance within the audio, ensuring that each element can be heard clearly and that they interact harmoniously.

Audio mixing involves several important tasks:

• Level Balancing: Adjusting the volume levels of different audio elements to ensure that none of them overpower or get lost in the mix. This helps create a clear and even sound.
• Panning: Placing audio elements in the stereo field to create a sense of space and direction. Panning determines whether a sound appears to be coming from the left, right, center, or somewhere in between.
• Equalization (EQ): Using equalization to shape the frequency balance of each audio element. EQ is used to enhance or reduce specific frequencies to make elements sound clearer, warmer, or more distinct.
• Dynamics Processing: Applying tools like compression and limiting to control the dynamic range of audio elements. Compression helps balance the difference between loud and quiet parts, while limiting prevents audio from exceeding a certain loudness level.
• Effects: Adding various audio effects such as reverb, delay and others to create depth, ambiance, and texture within the mix.

The ultimate goal of audio mixing is to translate the artistic vision of the content creator into a polished and engaging audio experience for the audience. A skilled audio engineer will use their technical knowledge and creative instincts to shape the mix and bring out the best in each element, resulting in a final mix that sounds professional and emotionally impactful.

Mastering is the final professional polish that makes your mix truly release ready. It ensures your track sounds great everywhere, whether it’s streaming, playing in the car, or on a hi-fi system. We fine-tune the stereo image, balance the EQ and compression, add just the right amount of loudness without over compressing, and run your music through high end professional mastering equipment. In short, mastering is what makes your song sound its absolute best everywhere it’s heard.

Audio mastering involves several important tasks:

• EQ: Balancing frequencies to ensure a clear, cohesive sound across all playback systems.
• Dynamic Processing: Controlling the track’s dynamics for consistent volume and punch without losing natural feel.
• Stereo Enhancement: Adjusting the stereo image to create a wider and more immersive listening experience.
• Loudness Optimization: Increasing overall volume to industry standards while maintaining clarity and detail.
• Final Quality Check: Ensuring the mastered track translates perfectly on all platforms and playback devices.

By adding + Dolby Atmos Master to your order, you’ll receive a Dolby Atmos ADM master, a binaural mix, and surround re-renders. This means your music can be distributed on platforms like Apple Music, TIDAL, and Amazon Music as a fully 3D immersive experience. Dolby Atmos can be enjoyed using regular headphones, there is no need for a full Atmos speaker setup. The difference compared to stereo is simply mind-blowing.

Dolby Atmos Mastering involves several important tasks:

• Spatial Mixing: Creating a 3D audio landscape so each sound moves naturally in a three dimensional space.
• Binaural Rendering: Delivering a headphone friendly version that mimics the immersive Atmos experience without special equipment.
• Surround Re-renders: Providing multiple surround sound versions so your music is ready for any playback environment.
• Platform Optimisation: Ensuring your master is perfectly tuned for streaming services like Apple Music and TIDAL.

There are a few major benefits of releasing a Dolby Atmos master.

• Superior Sound when compared to a standard stereo master. A Dolby Atmos master can achieve a sound that has more space, depth and is overall more true to life and pleasing to the ear.
• More Royalties from streaming platforms. You will earn a better percentage of royalties from streaming platforms when release a Dolby Atmos master.
• Online Algorithms will favour songs that are released in Dolby Atmos as well as stereo, especially Apple Music that say that the preferred format is Dolby Atmos/Spatial Audio.
• Future Proofed with Dolby Atmos. Dolby Atmos is going to eventually replace stereo on all streaming platforms. By releasing your music now in Dolby Atmos ensures you are future proofed and ready for the inevitable switch.
• Better Chance Of Being Playlisted. By releasing a Dolby Atmos master you will have a far better chance of being playlisted on certain platforms. Being playlisted can make or break a release.

The initial mix (Mix 1) will be returned to you within the time frame selected when placing your order. Turnaround time is based on days the engineer works between Monday to Friday. If you have a specific day you need your mix or master back for, please let us know when placing your order.

• 1 Working Day (mix 1 returned next working day)
• 2-5 Working Days (mix 1 returned within 2-5 working days)
• 5-7 Working Days (mix 1 returned within 5-7 working days)

By adding + Additional Mixes to your order, you will receive back the mixes for any of the following additional file types in stereo.

• Instrumental
• Acapella (vocal bus only)
• Performance Mix (version with lead vocal removed)
• Radio Edit (additional stems must be supplied)
• Extended Edit (additional stems must be supplied)

By adding + Mixed Stems to your order, you will receive back all stems as they are mixed in the session. Mixed stems will included all mixed buses as well as any reverb and delay sends. Playback of the mixed stems will playback as the finished stereo mix does. Mixed stems can be used for remix purposes and further production.

Orders / payment must be made before work on your song begins. This ensures our engineers, take the necessary time and care required to return you the very best mix and master.

A stem should not be confused with a multitrack audio file. An audio stem refers to an individual isolated track or element that is part of a larger mix. Stems are created by splitting a full mix into its constituent parts, allowing for greater control over the individual elements during mixing. Stems are never sent RAW without processing and always include the plugin processing that is active on the channel.

All mixing packages include 3 revisions. Mix revisions give you the peace of mind that the end result is going to be exactly as you want it. On the rare occasion you exceed 3 revisions, you can always purchase more via our revisions and re-runs page here.

100% yes, this is essential when working with an online mix engineer. The rough mix or demo mix will be used to establish that the stems you have sent playback correctly as well as include all automation and necessary processing. The rough mix is also used to correctly establish the balance you intend for each stem to be in the mix. By listening to the rough mix we can establish at what volume you intend a certain sound to be and where you intend it to be positioned in the mix.

There is technically no difference. Apple Spatial is what Apple call it and Dolby Atmos is what everyone else calls it. Apple spatial is played back through Apple’s own codec. All other streaming platforms playback using the Dolby Atmos codec.

The Dolby Atmos ADM and stereo master can be given to your desired distributor to release on platforms such as Apple Music, Tidal and Amazon Music. The Dolby Atmos and stereo masters sit alongside each other and depending on which format the listener has their device set to will determine which version they will hear. It is highly important that the Dolby Atmos and stereo versions perfectly sync with each other. If they do not sync perfectly your masters will be rejected.

Yes, if you are distributing Dolby Atmos you will also need to distribute a stereo master. The two files play alongside each other and need to play in sync with each other too. The reason for this is that on streaming platforms you will be able to switch between the two formats on the fly and by doing so switches from stereo to Dolby Atmos instantly. If in sync your files simply switch from one to the other seamlessly.

Get in contact with us via email and we can simply replace the files. Please be sure to get in contact with us ASAP to ensure we have the correct files to mix before work commences. If work has already started on your mix and the entire mix requires new stems, charges will apply.

A good mix engineer will be able to work with all genres of music not just one. At Audio Animals we pride ourselves on the fact that we work with all genres of music from every corner of the globe. Being an online mixing and mastering studio working worldwide there is not a genre of music we have not worked with.

Stereo mixes are returned in the following formats, if you require any others, please let us know: 

• 96kHz 24bit wav

Stereo masters are returned in the following formats, if you require any others, please let us know: 

• 96kHz 24bit wav
• 48kHz 24bit wav
• 44.kHz 24bit wav
• 44.1kHz 16bit wav
• 320kbs 16bit mp3

Dolby Atmos masters are returned in the following formats:

• 48kHz 24bit ADM
• 96kHz 24bit ADM
• 96kHz 24bit binaural mix
• 96kHz 24bit re-renders
• 768kbs mp4

Yes, please leave all plugins active if they are essential to your production. A good rule of thumb is to ask yourself: if I bypass this plugin, does it remove part of the sound I am trying to achieve? If the answer is yes, leave it on. Any creative processing that is central to your song should remain active.

It is entirely up to you. As we will be applying panning during the mix, you can leave everything centred. Generally, it is better for us to handle the panning ourselves. However, if there are specific sounds you want placed in certain positions within the stereo field, please send a list of those stems along with details of where you would like them positioned.

Yes, any automation added for a specific reason should remain active, as it is part of the sound you are trying to achieve.

Reverb will be added as part of the mixing process. The only time I would recommend leaving it active is if you have applied a specific reverb exactly as you want it, or if it plays an important creative role in the sound of the track. Additionally we will be using analogue reverbs that sound incredible.

100% yes. Delay is something that can have a million different outcomes. If you have added delay that is specific to your taste and how you want delay to sound, this delay would be considered as part of your production. To remove this delay would be to remove an essential part of your sound. We always recommend leaving delay active if you want it in your track. We will not add delay as standard as this is a creative effect that is specific to the production and not necessarily the mix. If delay is required from a mix perspective we will by all means add it how we see fit to get the best results.

By adding + Vocal Production / Editing to your order, you can send your RAW vocal recordings exactly as they are. We will clean every take removing pops, clicks, breaths, and any unwanted noise. Then the creative work begins. Your vocals are shaped, enhanced, and produced with tailored processing and effects, ensuring they are ready for mixing.

No, all vocal tuning should be completed prior to mixing. If you need vocal tuning, please contact us to discuss pricing for this as an additional service. It is important that your vocals are fully comped, finished, and prepared for mixing in advance.

Whilst both Dolby Atmos mastering studios will produce an exceptional master. Studio B is thought of as our primary Dolby Atmos studio that is equipped with a state of the art Dolby Atmos 7.1.6 PMC System. One of the best sounding Dolby Atmos rooms the music industry has to offer.

Studio B (Paul Ashmore) is Audio Animals primary Dolby Atmos mastering studio. It is equipped with a state-of-the-art 7.1.6 PMC monitoring system, optimised by Trinnov to deliver an exceptional listening experience and one of the finest sounding Dolby Atmos environments you are ever likely to hear. Studio B also features an Avid S4 console, used to control every aspect of the Dolby Atmos mix, alongside a Solid State Logic console that enables EQ and compression to be applied to up to 48 objects in the analogue domain.

Studio A (Nick Burchall) is equipped with a 7.1.4 Ex Machina Dolby Atmos system, optimised by Trinnov to deliver a pinpoint-accurate listening experience.

All orders will be turned around within the time frame selected when placing your order. Turnaround time is based on days the selected engineer works between Monday to Friday. If you have a specific day you need your master back for, please let us know when placing your order.

• 1 Working Day (mix 1 returned next working day)
• 2-5 Working Days (mix 1 returned within 2-5 working days)
• 5-7 Working Days (mix 1 returned within 5-7 working days)

Dolby Atmos mastering is a process that allows us to take your songs mixed stems and transform it into a Dolby Atmos master. Working in our Dolby Atmos mastering studios we are able to position and pan your song in a 3D space. Creating a fully immersive and spatial master that can then be released on streaming platforms such as Apple Music, Amazon and Tidal. The difference this service makes is outstanding and quite honestly takes your music to an unimaginable level.

We can perform a Dolby Atmos master from a stereo mix that is certified as a Dolby Atmos master. However the results will be far better if we use your mixed stems. A more immersive and true to life sound can be created. A stereo mix limits us to using unique techniques to up-mix the stereo file into Dolby Atmos.

Yes, a Dolby Atmos mix can be delivered as an ADM File for mastering. We will then take your ADM mix and perform the mastering to the strict guidelines in place for Dolby Atmos delivery.

Yes, this is a very common practice of Dolby Atmos mastering. We can take your stereo mixed stems and position them into a 3D space. Creating a fully immersive and inspiring Dolby Atmos master. It doesn’t matter if your song is already released in stereo. You can submit your songs mixed stems and stereo master to be matched and delivered back to you ready to release as a Dolby Atmos ADM on streaming platforms.

No, your song can be mixed in stereo and then positioned in Dolby Atmos. Your mix balance and processing is kept the same but with the added benefit of positioning each stem into a 3D space in Dolby Atmos.

There are a few major benefits of releasing a Dolby Atmos master.

• Superior Sound when compared to a standard stereo master. A Dolby Atmos master can achieve a sound that has more space, depth and is overall more true to life and pleasing to the ear.
• More Royalties from streaming platforms. You will earn a better percentage of royalties from streaming platforms when release a Dolby Atmos master.
• Online Algorithms will favour songs that are released in Dolby Atmos as well as stereo, especially Apple Music that say that the preferred format is Dolby Atmos/Spatial Audio.
• Future Proofed with Dolby Atmos. Dolby Atmos is going to eventually replace stereo on all streaming platforms. By releasing your music now in Dolby Atmos ensures you are future proofed and ready for the inevitable switch.
• Better Chance Of Being Playlisted. By releasing a Dolby Atmos master you will have a far better chance of being playlisted on certain platforms. Being playlisted can make or break a release.

There is technically no difference. Apple Spatial is what Apple call it and Dolby Atmos is what everyone else calls it. Apple spatial is played back through Apple’s own codec. All other streaming platforms playback using the Dolby Atmos codec. Apple spatial does not use the near, mid and far metadata.

Orders / payment must be made before work on your song begins. This ensures our engineers, take the necessary time and care required to return you the very best master.

By adding + Additional Masters to your order, you will receive back any of the following mixes mastered in Dolby Atmos.

• Instrumental
• Radio Edit (additional stems must be supplied)
• Extended Edit (additional stems must be supplied)

Dolby Atmos Mastering includes 2 revisions. Mastering revisions give you the peace of mind that the end result is going to be exactly as you want it. On the rare occasion you exceed 2 revisions, you can always purchase more via our revisions and re-runs page.

If you need to change the mix in any way after mastering there is a master re-run fee of £20. This small charge covers the engineers time to reprint the Dolby Atmos master.

If work has not yet begun on your song, you can simply get in touch with us and replace the files.

If work has already begun on your song and you need to replace the stems. Two outcomes will occur.

If the mix is technically the same song and same mix but there is a change resulting in the song needing to be re-run. There is a small charge of £20 to cover the time the engineer must take to re-run your song.

If the mix is completely different or a different song altogether, a new order for mastering will need to be placed. The reason for this is because mastering will need to be started from scratch and the previous master scrapped.

Before sending your song always make sure that the stems play back correctly and the files you are sending is the mix you intend to be mastered.

Your stems can be uploaded securely via the upload page here or in your account here. Bypass all processing you may have on your master bus. For Dolby Atmos mastering it is very important that the stems playback 100% identical to the finished stereo mix. Please bear in mind that no mixing or volume adjustments are made to each individual stem. All sound design processing must be left active on each stem. Do not normalize stems or change their volume. Playback of your stems should be exactly as your finished stereo mix plays back. We recommend loading your stems into a new DAW session and referencing against your finished stereo mix to ensure playback of your stems is correct.

• File Type: Wav
• Bitrate: 16/24/32bit
• Sample Rate: 44,1kHz – 96kHz
• Headroom: -3db / -6db

If you are only ordering Dolby Atmos mastering you will need to supply your stereo master. It is important that we sync the timeline of the Dolby Atmos master to the stereo master. This ensures playback on streaming platforms can switch between stereo and Dolby Atmos seamlessly.

The Dolby Atmos ADM and stereo master can be given to your desired distributor to release on platforms such as Apple Music, Tidal and Amazon Music. The Dolby Atmos and stereo masters sit alongside each other and depending on which format the listener has their device set to will determine which version they will hear. It is highly important that the Dolby Atmos and stereo versions perfectly sync with each other. If they do not sync perfectly your masters will be rejected.

Yes, if you are distributing Dolby Atmos you will also need to distribute a stereo master. The two files play alongside each other and need to play in sync with each other too. The reason for this is that on streaming platforms you will be able to switch between the two formats on the fly and by doing so switches from stereo to Dolby Atmos instantly. If in sync your files simply switch from one to the other seamlessly.

Get in contact with us via email and we can simply replace the files. Please be sure to get in contact with us ASAP to ensure we have the correct files to work with before work commences. If work has already started on your Dolby Atmos mastering and the entire song requires new stems, charges will apply.

A good Dolby Atmos engineer will be able to work with all genres of music not just one. At Audio Animals we pride ourselves on the fact that we work with all genres of music from every corner of the globe. Being an online Dolby Atmos mixing and mastering studio working worldwide there is not a genre of music we have not worked with.

All music works well mastered in Dolby Atmos. Some better than others. The more stems you are able to provide the more immersive and spacious your Dolby Atmos master will sound.

Dolby Atmos masters are returned in the following formats:

• 48kHz 24bit wav ADM
• 96kHz 24bit wav ADM
• 96kHz 24bit wav binaural mix
• 96kHz 24bit wav re-renders
• 768kbs mp4

Yes for Dolby Atmos mastering all plugins must be left active. The playback of stems should be identical to the finished stereo mix and include all plugins and automation. We recommend loading your stems into a new DAW session and referencing against your finished stereo mix to ensure playback of your stems is correct.

For Dolby Atmos mastering all panning must be active and playback of your stems must playback identically to the finished stereo mix. We recommend loading your stems into a new DAW session and referencing against your finished stereo mix to ensure playback of your stems is correct.

100% yes, automation should always be active. Automation is part of your mix and if removed results in an unfinished mix. All automation including volume, modulation, EQ, reverb or delay automation must be kept active. We recommend loading your stems into a new DAW session and referencing against your finished stereo mix to ensure playback of your stems is correct.

For Dolby Atmos mastering reverb must be printed to the stems or delivered as a 100% wet stem. It is important that playback of the stems plays back 100% identically to the finished stereo mix.

For Dolby Atmos mastering delay must be printed to the stems or delivered as a 100% wet stem. It is important that playback of the stems plays back 100% identically to the finished stereo mix.

Analogue processing is designed to give our clients access to our high-end analogue equipment within their production and recording process. This service is used a lot for vocal processing as well as clients wanting to add analogue elements to their song for sounds that are a focus point. Drum bus processing is a particular favourite of our clients.

All orders will be turned around within the time frame selected when placing your order. Turnaround time is based on days the engineer works between Monday to Friday. If you have a specific day you need your master back for, please let us know when placing your order.

• 1 Working Day (returned next working day)
• 2-5 Working Days (returned within 2-5 working days)
• 5-7 Working Days (returned within 5-7 working days)

Yes, much like our stereo mastering service, we can process the stereo mix through our mastering chain giving you what is essentially a stereo master that can then be tweaked further and a limiter added to it. The huge benefit of this is that by receiving a fully dynamic processed master is that you can change the sound of the master and add any additional processing you desire. This means you can take the processed audio we return back to you and adjust it to sound exactly how you want it, then apply a plugin limiter to achieve your desired loudness and release your own analogue master.

All orders are delivered back to the client as 3 unique versions. The reason for this is so that the client has more to work with and can experiment with which stem works best.

• Stem 1 – The ideal processing type we feel the stem should require for the best possible result.
• Stem 2 – A more exaggerated processing type when compared to stem 1. This could include more saturation, or a more noticeable overall tone.
• Stem 3 – A more subtle processing type that would be considered cleaner, a less night and day difference which is ideal if you want to add additional processing to the stems after receiving them back.

Yes, all stems are delivered back to you with a full dynamic range with plenty of headroom. This allows you to apply any processing you want to apply on your end after receiving the processed stems back and ensure they perfectly fit with your sound. We recommend sending your stems with minimal processing applied. This way you can apply additional EQ, compression, saturation, reverb, delay etc to the stem to make it your own.

The main benefit of analogue processing is that often many producers never add any analogue flavour to their music until it arrives to us for mastering. Using this service our clients are able to now apply analogue processing to the core elements of their song, bringing it to life in ways you just can’t achieve in the digital domain. Combined with our skills and expertise our clients benefit from a professional processed stem that will slot straight into the mix and sound full of life.

Orders / payment must be made before work on your stems begins. This ensures our engineers, take the necessary time and care required to return you the very best service.

There are no revisions included in this service, due to the amount of time it takes to process the stem through 3 unique signal chains.

If work has not yet begun on your audio, you can simply get in touch with us and replace the file.

If work has already been completed on your stem and you need to replace the stem for a new one. A new order will need to be placed and the work started again from scratch

Before sending your audio always make sure it is correct and the file you are sending is the audio you intend to be processed.

Your audio can be uploaded safely and securely via the upload page here or in your account here. Bypass any compression / limiting you may have on your master bus before printing your audio ready for mastering. You can alternatively bypass any effects or plugins and add them to the processed audio you receive back.

• File Type: Wav
• Bitrate: 16/24/32bit
• Sample Rate: 44,1kHz – 96kHz
• Headroom: -3db / -6db

Access Analog is a great service and it gives people access to analogue equipment via the internet. The one issue with this is that the person processing the audio (you) usually has very little knowledge of how to get the most out of the equipment and how to use it correctly. Our analogue processing service works in a different way and allows our clients to entrust us with applying the correct processing for the stem.

3 processed stems will be returned back to you, each with their own unique processing applied. It is important to deliver multiple versions of the processed stems in order to cover all possible outcomes.

• 96kHz 24bit wav
• 48kHz 24bit wav
• 44.kHz 24bit wav
• 44.1kHz 16bit wav

Yes, if you have an idea of how you want the stem to be processed then please let us know in your order. We will ensure the stem is processed as close as is physically possible to the details given, and supply you with 3 processed stems that are variations of how we interpret the information supplied. A reference mix can be provided if you have one.

Yes, you can send a screenshot of a plugin emulation or a similar plugin showing the settings you want applied in the analogue domain. We can then copy the settings in or match them accordingly. 1 stem returned to you will include the processing you have requested and the other 2 stems will be variations of these setting with more extreme settings and another more subtle.

Yes, you can send a reference mix or a reference stem that we can reference against. This allows us to get as close as is physically possible whilst ensuring the stem is processed correctly for the best possible sound.

Yes, this is very much welcomed. Having the reference mix minus the audio we are processing allows us to treat the processing as if we are mixing the song into the rest of the mix. This is very helpful for us and allows us to achieve a sound that takes the rest of the mix into account. This is especially helpful when processing a vocal bus, drum bus or instrument bus.

All library music is mastered in Studio A by Nick Burchall. Nick has had the pleasure of mastering music featured in some of Hollywoods biggest films and trailers. Including Frozen 2, Avengers End Game, Avatar, Star Wars and The Fast & The Furious franchise. There’s not a genre of music Nick hasn’t worked with for library music.

All orders will be turned around within the time frame selected when placing your order. Turnaround time is based on days the selected engineer works between Monday to Friday. We understand there are often tight deadlines with library music, if you have a specific day you need your master back for, please let us know when placing your order.

• 1 Working Day (returned next working day)
• 2-5 Working Days (returned within 2-5 working days)
• 5-7 Working Days (returned within 5-7 working days)

Library music, also known as production music or stock music, refers to music that is composed and recorded with the purpose of licensing it for use in various media projects such as films, TV shows, commercials, and other forms of visual content. Composers create library music to be versatile and easily adaptable to different scenes or moods. It is often used as background music to enhance the atmosphere of a particular scene without distracting from the main content.

The main benefit of library music mastering is not just the exceptional quality mastering provided for your song but also understanding the clients needs are different from a standard stereo mastering service. Understanding how to print alternate mixes and that mastered stems need to line up correctly with the main mix. By sending large volumes of mixes to be mastered in bulk we are able to offer an exceptional rate due to the administration involved being far less time consuming.

The main difference is price. Both library music mastering and our standard mastering service are mastered in the same studio, by the same engineer and using the same analogue mastering equipment. The reason we are able to offer such an exceptional rate on library music mastering is due to the volume of music that is being sent for mastering. The administration involved in downloading, setting up and sending back 30 songs all at once, compared to the administration of 30 individual songs, is far less time consuming. The time we save is the main contributor to why we are able to offer such an affordable rate on library music mastering.

By adding + Additional Stereo Master to your order, you will receive back all additional mixes mastered through the same mastering chain as the original mix.

• 30 second mix
• 1 minute mix
• 1 minute 30 second mix
• Solo strings
• Solo drums
• Instrumental
• Acapella

By adding + Stereo Mastered Stems to your order, you will receive back all stems provided mastered through the exact same mastering chain as the stereo mix. Mastered stems can be used for film and TV licensing as well as remix purposes and further production.

Orders / payment must be made before work on your song begins. This ensures our engineers, take the necessary time and care required to return you the very best master.

Library music mastering includes 1 revisions. Mastering revisions give you the peace of mind that the end result is going to be exactly as you want it. If you exceed your 1 allocated revision, you can always purchase more via our revisions and re-runs page.

If you need to change the mix in any way after mastering there is a master re-run fee of £10. This small charge covers the engineers time to recall the mastering chain and re-record the updated master.

It is advised to remove all plugins from your master bus that effect dynamic range. This includes plugins such as compression or limiting. It is best to remove all plugins but we understand that some clients want to leave EQ or saturation active as it is part of their sound. The reason we suggest removing master bus processing is so that we have a mix that has full dynamic range and we are able to compress and limit at the correct stage of the mastering chain.

If work has not yet begun on your song, you can simply get in touch with us and replace the file.

If work has already begun on your song and you need to replace the mix for a new one. Two outcomes will occur.

If the mix is technically the same song and same mix but there is a change resulting in the song needing to be re-run. There is a small charge of £10 for a master re-run to cover the time the engineer must take to re-run your song.

If the mix is completely different or a different song altogether, a new order for mastering will need to be placed. The reason for this is because mastering will need to be started from scratch and the previous master scrapped.

Before sending your song always make sure that the mix is correct and the file you are sending is the mix you intend to be mastered.

Mastering is one of the most important parts of the engineering process of a song. Mastering can make or break a song. Too many artists fall at the final hurdle with poor quality mastering using either digital plugins or guesswork using AI mastering. A professional mastering engineer will ensure your music plays back correctly across all devices. Nothing comes close to a skilled engineer in a 100% accurate room using high quality analogue mastering equipment.

Your mixes can be uploaded safely and securely via the upload page here or in your account here. Bypass any compression / limiting you may have on your master bus before printing your audio ready for mastering.

• File Type: Wav
• Bitrate: 16/24/32bit
• Sample Rate: 44,1kHz – 96kHz
• Headroom: -3db / -6db

It is not ideal but yes we can work with a limited or clipped mix. The approach to mastering a limited mix is similar but requires a very precise approach in order to ensure the song is not over compressed or distorted.

Stereo masters are returned in the following formats, if you require any others, please let us know: 

• 96kHz 24bit wav
• 48kHz 24bit wav
• 44.kHz 24bit wav
• 44.1kHz 16bit wav

Yes, if you would like to credit Audio Animals for the mastering of your music you can do so. Please credit Audio Animals Ltd and either Paul Ashmore or Nick Burchall as the mastering engineer. This is not required but is greatly appreciated.

All TV and film mixing and mastering is performed in Studio B by Paul Ashmore. Studio B has been fitted 7.1.6 Dolby Atmos system including Trinnov optimisation for perfect audio playback. Studio B is a purpose-built, state-of-the-art mixing and mastering studio featuring both an Avid S4 and an SSL Oracle console.

Turnaround time greatly depends on the project and how much is involved. We always recommend leaving at least a month for the entire process to be completed on larger film. Revisions can often take some time depending on the film. If you have a deadline please contact us beforehand to discuss if the deadline is possible.

We do not limit the amount of revisions you can make with film and TV projects. We understand after working on various film and TV projects there are often a lot of revisions required by multiple different people and departments within the project. For this reason we don’t feel it is helpful to limit the amount of revisions.

Yes, before we start your project we can discuss anything you may need to talk about, over the phone or via a Zoom call. A full list of contact information can be found here.

Yes, we understand different films have different budgets and that projects need to stick to a certain budget. If you would like to discuss your project and budget please contact us using the contact form here.

Your stems can be uploaded safely and securely via our upload form in your account here. Leave any processing you may have active if it is part of the film.

• File Type: Wav
• Bitrate: 16/24/32bit
• Sample Rate: 48kHz – 96kHz
• Headroom: -3db / -6db

It is important to separate stems as much as possible. We advise each actor has their own stem and no audio overlap. A typical small film will break down as follows.

• Atmos (2 Stems)
• Backing Noise
• Foley (3 Stems)
• Sound Effects (3 Stems)
• Music
• Dialogue (10 Stems)

We advise taking the mix as far as you can so that you have a finished draft of the movie ready to mix.

Yes, we will need the finished film as a reference for where to pan sound and to be able to fit the audio to the mood on the on screen visuals. The film must not be subject to change once mixing has begun.

Yes, as long as they do not ever overlap with another stem. This allows you to keep the stem count to a minimum.

Orders / payment must be made before work on your song begins. This ensures our engineers, take the necessary time and care required to return you the very best master.

Your mixes can be uploaded safely and securely via the upload page here or in your account here. Bypass any compression / limiting you may have on your master bus before printing your audio ready for mastering.

• File Type: Wav
• Bitrate: 16/24/32bit
• Sample Rate: 44,1kHz – 96kHz
• Headroom: -3db / -6db

Stereo masters are returned in the following formats, if you require any others, please let us know: 

• 96kHz 24bit wav
• 48kHz 24bit wav

Dolby Atmos masters are returned in the following formats:

• 48kHz 24bit wav ADM
• 96kHz 24bit wav ADM
• 96kHz 24bit wav binaural mix
• 96kHz 24bit wav re-renders
• 768kbs mp4

Yes, if you would like to credit Audio Animals for the mastering of your music you can do so. Please credit Audio Animals Ltd and either Paul Ashmore or Nick Burchall as the engineer. This is not required but is greatly appreciated.

All podcasts and audiobooks are mixed and mastered by Paul Ashmore in Studio B, a purpose-built, state-of-the-art mixing and mastering studio featuring both an Avid S4 and an SSL Oracle console.

All orders will be turned around within the time frame selected when placing your order. Turnaround time is based on days the engineer works between Monday to Friday. If you have a specific day you need your master back for, please let us know when placing your order.

• 1 Working Day (returned next working day)
• 2-5 Working Days (returned within 2-5 working days)
• 5-7 Working Days (returned within 5-7 working days)

Podcast mastering is the process of preparing and finalizing the audio of a podcast episode to ensure optimal sound quality and consistency. The goal of mastering is to polish the audio and make it sound professional, clear, and balanced across different devices. While the concept of mastering is more commonly associated with music production, it has become increasingly relevant in the podcasting world as well.

• EQ: Adjusting the balance of frequencies to enhance clarity and remove any unwanted sounds. This can involve boosting or cutting certain frequencies to achieve a more balanced and natural sound.
• Compression: Applying dynamic range compression to control the volume levels of the audio. Compression helps to even out the loud and soft parts of the recording, making it more consistent and easier to listen to.
• Limiting: Setting a maximum output level to prevent audio distortion or clipping. Limiters are used to ensure that the audio doesn’t become too loud and cause discomfort or damage to listeners’ ears.
• Noise Reduction: Removing or reducing background noise, hums, hisses, or other unwanted sounds that may have been picked up during the recording process.
• Stereo Imaging: Adjusting the spatial characteristics of the audio, ensuring that it sounds good in both stereo and mono playback environments.
• Quality Control: Listening to the entire podcast episode to catch any remaining issues, such as pops, clicks, or other artefacts.

Audiobook mastering is a process similar to podcast mastering but specifically tailored for audiobook production. The goal of audiobook mastering is to ensure that the final audio product is of high quality, easily understandable, and enjoyable for listeners. It involves several post-production techniques to enhance the overall audio experience.

• EQ: Adjusting the balance of frequencies to enhance clarity and remove any unwanted sounds. This can involve boosting or cutting certain frequencies to achieve a more balanced and natural sound.
• Compression: Applying dynamic range compression to control the volume levels of the audio. Compression helps to even out the loud and soft parts of the recording, making it more consistent and easier to listen to.
• Limiting: Setting a maximum output level to prevent audio distortion or clipping. Limiters are used to ensure that the audio doesn’t become too loud and cause discomfort or damage to listeners’ ears.
• Noise Reduction: Removing or reducing background noise, hums, hisses, or other unwanted sounds that may have been picked up during the recording process.
• Stereo Imaging: Adjusting the spatial characteristics of the audio, ensuring that it sounds good in both stereo and mono playback environments.
• Quality Control: Listening to the entire podcast episode to catch any remaining issues, such as pops, clicks, or other artefacts.

Podcast / audiobook mixing is the process of combining and balancing the various audio elements within a podcast episode to create a cohesive and well-blended final product. This involves adjusting the volume levels, panning, and equalisation of individual audio tracks to achieve a balanced and pleasing sonic experience for the listener. Audio mixing is a crucial step in the post-production phase of podcast and audiobook creation.

• Balancing Levels: Adjusting the volume levels of different tracks to ensure that all voices and other audio elements are audible and well-balanced. This includes making sure that the host’s voice, guest voices, and any background music or sound effects are at appropriate levels relative to each other.
• Panning: Determining the spatial placement of audio elements within the stereo field. Panning can create a sense of space and separation between voices or instruments. For example, placing a guest’s voice more to the right or left can contribute to a natural and dynamic sound.
• EQ: Adjusting the frequency balance of individual tracks to enhance clarity and prevent any frequencies from overpowering others. This is particularly important for ensuring that voices sound natural and that music or other audio elements complement each other.
• Compression: Applying dynamic range compression to control the volume variations within individual tracks. Compression helps to even out loud and soft parts, making the podcast more consistent and easier to listen to.
• Editing: Trimming and editing audio segments to remove any unnecessary pauses, mistakes, or other unwanted elements. This step is typically done before mixing but may also involve some fine-tuning during the mixing process.
• Quality Control: Listening to the mixed podcast episode in its entirety to catch any remaining issues and ensure a high-quality listening experience.

Podcast / audiobook mastering offers several benefits that contribute to the overall quality and professionalism of your podcast episodes. Here are some key advantages:

1. Improved Sound Quality: Podcast mastering helps enhance the overall sound quality of your episodes. It involves processes like equalization, compression, and noise reduction, which can result in clearer and more polished audio.
2. Consistency Across Episodes: Mastering ensures a consistent audio experience across different podcast episodes. By normalizing volume levels and addressing variations in sound quality, listeners can enjoy a seamless experience as they move from one episode to the next.
3. Professionalism: A well-mastered podcast sounds more professional and is likely to be taken more seriously by listeners. This is important for building credibility and attracting a larger audience.
4. Enhanced Clarity: Mastering can improve the clarity of spoken words, making it easier for listeners to understand and engage with the content. This is particularly crucial for podcasts that convey information or feature interviews and discussions.
5. Reduced Listener Fatigue: Proper mastering involves techniques like compression to control volume fluctuations. This helps prevent listener fatigue, as it ensures that the audio levels are consistent and not too jarring or uncomfortable.
6. Optimized for Different Devices: Mastering can involve adjusting the audio for optimal playback on various devices, ensuring that your podcast sounds good whether it’s being listened to on headphones, speakers, or other audio systems.
7. Compliance with Industry Standards: Mastering can help ensure that your podcast meets industry standards for audio quality. This is especially important if you plan to submit your podcast to platforms or networks that have specific requirements for audio production.
8. Reduced Background Noise: Noise reduction techniques applied during mastering can help minimize background noise, improving the overall listening experience and eliminating distractions for your audience.
9. Polished Presentation: Mastering is a final step in the post-production process that adds a level of polish to your podcast. This attention to detail can make a positive impression on your audience.
10. Better Engagement: A well-mastered podcast is more likely to engage listeners. When the audio is clear, balanced, and enjoyable, it can contribute to a positive overall impression and encourage listeners to stay subscribed and recommend your podcast to others.

Orders / payment must be made before work on your song begins. This ensures our engineers, take the necessary time and care required to return you the very best master.

If work has not yet begun on your audio, you can simply get in touch with us and replace the file.

If work has already begun on your song and you need to replace the mix for a new one. Two outcomes will occur.

If the mix is technically the same song and same mix but there is a change resulting in the audio needing to be re-run. There is a small charge of £50 for a master re-run to cover the time the engineer must take to re-run your audio.

If the audio is completely different or a different piece of audio altogether, a new order for mastering will need to be placed. The reason for this is because mastering will need to be started from scratch and the previous master scrapped.

Before sending your audio always make sure it is correct and the file you are sending is the audio you intend to be mastered.

All mixing packages include 3 revisions. Mix revisions give you the peace of mind that the end result is going to be exactly as you want it. On the rare occasion you exceed 3 revisions, you can always purchase more via our revisions and re-runs page here.

Mastering includes 1 revision. Mastering revisions give you the peace of mind that the end result is going to be exactly as you want it. On the rare occasion you exceed 1 revision, you can always purchase more via our revisions and re-runs page.

If you need to change the mix in any way after mastering there is a master re-run fee of £50. This small charge covers the engineers time to recall the mastering chain and re-record the updated master.

Your audio can be uploaded safely and securely via the upload page here or in your account here. Bypass any compression / limiting you may have on your master bus before printing your audio ready for mastering.

• File Type: Wav
• Bitrate: 16/24/32bit
• Sample Rate: 44,1kHz – 96kHz
• Headroom: -3db / -6db

If a mp3 is the highest quality file you have and you are unable to obtain a high quality wav file, it is not ideal but we will be able to work with this.

Stereo masters are returned in the following formats, if you require any others, please let us know: 

• 96kHz 24bit wav
• 48kHz 24bit wav
• 44.kHz 24bit wav
• 44.1kHz 16bit wav
• 320kbs 16bit Mp3

Yes, if you would like to credit Audio Animals for the mastering of your podcast or audiobook you can do so. This is not required but is greatly appreciated.

A consultation is when we consult with the client over the subject or project they need information on. Information can be supplied via email, phone, video or on location with an on site visit. Such consultancies save the client money and give them valuable information they wouldn’t find anywhere else, coming straight from a reliable source who is already successful in this field.

Video and phone consultations typically last at least one hour, and you can book as many hours as you need. For longer sessions, we recommend booking in 4-hour blocks, as continuous talking can be demanding and breaks may be needed in between.

Video calls can be done via Zoom or via whatsapp video call. Which ever you prefer.

The price listed on the website is for UK only. Any overseas visits must be discussed prior to booking and will be considerably more expensive.

1. Select your required service and click add to basket. Next proceed through the checkout system.
2. Once you have checked out and paid for your DDP image, you can if required upload your files and all information to us via our upload form in your account here. Please ensure you add your order number, this lets us know which order is linked to which files. If no files are required to be uploaded, get in touch with us via the email thread we have created for your order and let us know the changes to your order.
3. Once we have received your payment and files we will download and begin working with your order.
4. When your order is completed you will receive your files via email. Any additional revisions or edits can be discussed with the engineer. Once all parties are happy with the end result your order will be marked off as complete.

A “DDP image” typically refers to a Disc Description Protocol (DDP) image. DDP is a standardised format commonly used in the mastering and replication of optical discs, particularly in the music and multimedia industries. It’s used to create a bit-perfect representation of a disc, including its layout, data, and metadata, ensuring accurate reproduction during the replication process.

A DDP image includes all the necessary information for creating a perfect copy of a disc, such as:

1. Audio tracks: The DDP image contains the audio data in a specific format that preserves the original quality and layout of the tracks. This is important for ensuring consistent sound quality when the disc is replicated.
2. Track order and layout: The DDP image specifies the order of the tracks on the disc, along with information about the gaps or pauses between tracks, track indices, and other layout details.
3. Metadata: DDP images can include metadata such as track titles, ISRC codes (International Standard Recording Code), CD-Text information (used to display text on compatible players), and other relevant information.
4. Error-checking: The DDP format includes error-checking mechanisms to ensure the integrity of the image, reducing the likelihood of errors during the replication process.

DDP images are commonly used by mastering studios when preparing audio for CD replication. They provide a reliable way to transfer the final audio product to the replication facility while minimising the risk of data corruption or errors that might occur when using other formats.

Yes, even if you have had your song mastered at another studio we are able to create you a DDPi using their masters.

Upon completion of the mastering of your project, we will ask you to confirm 100% that the project is complete and ready to be printed to a DDPi. At this point we will print your DDPi and email it to you. This process will usually be completed in 2 working days of completion of the mastering of your project.

You will receive back a DDP image that can be used to duplicate multiple CDs.

No all DDP images are digitally sent via email. This keeps the cost low and processes as efficient as possible.

We will need all information you require to be printed to the DDPi. This will include all metadata, ISRC codes, songs and any additional information you feel may need to go on the DDPi.

You can add as much or as little metadata as you want. Below is a list of recommended metadata you should supply.

• Track order and gaps
• Track titles
• Band or artist’s name
• Album title
• Genre of music
• Album track number
• Year song was released
• ISRC codes
• UPC/EAN

Yes, this service is strictly for Audio Animals clients only. If you do not intend to have your song mixed and/or mastered by Audio Animals, this service cannot be used. The mix evaluation is provided exclusively for clients as a way to ensure their music is ready for us to work on before the mixing or mastering process begins.

When you place your order for mixing and/or mastering, you’ll receive an order number. We require this order number for your mix evaluation so we can confirm that you are a client with an active order in progress.

Yes. By requiring mix evaluations to be submitted by clients with an active order in progress, we can quickly establish who is a genuine Audio Animals client.

If you do not yet have an active order, you may still submit a mix evaluation without an order number. However, we will contact you by email first to confirm that you intend to become an Audio Animals client before listening to your song. This helps ensure our time is spent working with clients as efficiently as possible.

We listen to your song carefully and identify any fundamental issues in the mix that should be addressed before mastering. We do not offer advice on production choices, as these are subjective and come down to personal preference. However, we do highlight any essential changes that should be made in order to achieve a stronger mix.

Yes, your song should be finished and in its final state, ready for us to work on.

Yes, you can submit as many songs as you need us to work on.

For clients who include their order number and have an active order in progress with us, we aim to complete all mix evaluations by the next working day. If you do not yet have an active order and cannot provide an order number with your mix evaluation, your submission will be placed in a queue. Our paying clients must always take priority over potential clients who have not yet purchased a service.

There are many reasons, but the main one is that it’s incredibly valuable to have a professional pair of ears listen to your music and identify any fundamental mix issues before mastering.

We monitor in a state-of-the-art Dolby Atmos studio that is one of the most accurate listening environments in the UK. What we hear in this room is an exceptionally true representation of how your song actually sounds, which means we’re likely to notice issues you may not hear in your own studio.

There is also real value in having someone hear your track with a completely fresh perspective. After listening to the same song repeatedly, it’s easy to miss certain details. Because we’re hearing it for the first time, we can often pick up on things immediately that you may have become too familiar with to notice.

No, we do not recommend sending links to platforms such as SoundCloud, as the audio is streamed at a much lower quality. We need the full-quality file to be downloaded and imported into a session so we can properly inspect the waveform and analyse the audio accurately.

You can upload your files to a file-sharing service such as Dropbox, WeTransfer, or Hightail and paste the download link into the submission form. Please make sure you send the mix, not the master. We need to hear the finished mix exactly as you intend to send it to us for mastering.

Files can sent to us safely and securely using either upload option below.

Option 1: Use our WeTransfer upload server and upload files directly to us.

Option 2: Use the upload form to send your own download link.

Once your files have uploaded successfully, you’ll receive an email confirming they’ve been sent. As soon as they come through to us, we’ll download everything and send you a personal confirmation email. If there are any issues with the files, we’ll let you know. If you don’t hear from us, please feel free to get in touch.

Yes, you’ll need to place your order before uploading your files. This gives you an order number to include on the upload form, allowing us to match your files to the correct order accurately.

Your order number will be sent to the email address you used when placing your order. You can also find it at any time in your Audio Animals account.

An order number is a unique reference assigned to your purchase. We use it to accurately match your uploaded files to the correct order and payment.

Your order number can be found in your confirmation email or within your Audio Animals account. If you’re unable to locate it, simply email us at studio@audioanimals.co.uk . To help us find your order number quickly, please include the name and email address used when placing the order.

Uploading through our WeTransfer server is unlimited, with no restrictions on how much data you can send.

If this happens and no message is included, we won’t know which order your files relate to. We receive a large number of files each day, so it’s important to include either your order number, details about the files, or the email address linked to the order. This helps us match your upload to the correct project accurately.

1. Select the amount of studio credit you require and click Add to Basket, then proceed through the checkout process.
2. Once you have checked out and paid for your studio credit, you can, if needed, upload your files and any relevant information using the upload form in your account.
3. As soon as we have received your payment and files, we will download everything and begin working on your order.
4. When your order is complete, your files will be delivered by email. Any additional revisions or edits can be discussed directly with the engineer. Once the work has been completed, the cost of the service will be deducted from your studio credit.

If this happens and no message is included, we won’t know which order your files relate to. We receive a large number of files each day, so it’s important to include either your order number, details about the files, or the email address linked to the order. This helps us match your upload to the correct project accurately.

Store Credit can be used to upgrade studio services or to pay for services over a period of time.

Upgrade Studio Services: Store credit is often used when upgrading an existing service. For example, if a client has purchased mastering at £50 and later decides to upgrade to stem mastering at £80, they can purchase £30 of store credit to cover the difference. Once purchased, we will manually upgrade the order within our system.

Spend Over Time: Many clients choose to purchase store credit and keep it on their account to use over the course of several months. For example, £500 of store credit can be added to your account, and the cost of each studio service will then be deducted from your balance as you send music in for us to work on.

If you need to add more than £100 of store credit, you can add multiples of each value to increase the cart total above £100. For instance if you need to pay £130 you can add £100 and £30 to cart. If you need to pay £200 you can add 2x £100 to the cart. As long as your cart total adds up to the value you need to pay, how you get to that value is up to you.

Yes, many of our clients that use our studio services will purchase store credit and have it kept on account to use over the period of a few months. For instance £500 store credit can be purchased, then the price of the studio service deducted from your total balance as you send your music in to us to be worked on. Store credit is valid for 1 year.

No, we do not supply you with a coupon code. Instead store credit is either manually applied to your studio service order or kept on account by us to be used over a period of time.

Store credit can only be used with studio services. Store credit is essentially virtual money that can be used to upgrade studio services or use as credit that you can use over a period of time on studio services.

Store credit can be used to order any of our studio services including mixing, mastering and Dolby Atmos services.