We’d love to hear your thoughts on Tony’s mix and on this new format overall. What did you think?

Do you have any suggestions for future guests you’d like to see?

But most of all, we’re really curious to hear your mixes!
Has anyone tried working with the stems yet?

Just a quick reminder: the stems are available on the download page.

We’d love to hear your thoughts on Tchad’s mix and on this new format overall. What did you think?

Do you have any suggestions for future guests you’d like to see?

But most of all, we’re really curious to hear your mixes!
Has anyone tried working with the stems yet?

Just a quick reminder: the stems are available on the download page.

I’ve been using MixUp.Audio for a while and my clients and I both love the features..

It’s been a little buggy but worked for the most part..until this pretty much forced change over to the”new” version.

The migration has totally failed…

I could find anything on the Mix-with-The-Masters site about this program or any other…

Is there an alternative that y’all are using?

Thanks,

-Steve

The session and multitrack are now available for download on the website. Try building your own mix before the webinar and discover how a top engineer approaches the same material from scratch.

The session and multitrack are now available for download on the website. Try building your own mix before the webinar and discover how a top engineer approaches the same material from scratch.

This song was born from a difficult emotional moment experienced by one of the members of our band. The lyrics and the initial harmony arose from an impossible love that generated hope and heartbreak. That emotional vulnerability became the basis of the issue.

We started the song intentionally in a soft and intimate way, allowing the feeling to feel honest and personal. As the story unfolded, we decided to make the transition to a faster and more romantic reggaeton section to reflect the emotional intensity and movement. The contrast between the soft introduction and the rhythmic section represents the emotional change within the story.

As a band, we expand the structure by adding new melodies and lyrical ideas. A melodic line and additional lyrics were provided, which helped to deepen the narrative. In production, we focused on superimposing textures and refining the sound, building the song beyond its original demo. Adding instruments, sounds, and a mixture linked to our objective that greatly benefited the theme.

Curiously, a harmonic error during the recording forced us to improvise the final chorus. Instead of recreating it, we embraced the moment and created a new ending, which gave the song a more organic and honest feeling. In general, the process was collaborative, emotional and shaped by both intention and spontaneity.

Right now, I can best describe this as “Jazz Riot Grrl.” But throw in a spoonful of the Doors, Tori Amos, and Fiona Apple.

I would love to hear this massaged into a more mainstream track – but still with the theatrics of someone like Florence.

About me: I’m SaraEllen, and I do “Northwest Noir.” It’s a bit of jazz, dark pop, haunted houses, and a bit of David Lynch.

Here’s the track, Rich Boys: Stream Rich Boys by Plaid Lion | Listen online for free on SoundCloud

This song started out as a poem I wrote in college. It has a very simple piano accompaniment and some basic percussion. There’s a lot of space in the current recording.

Many thanks for your consideration!

I’m throwing one of my songs in the ring too for this incredible opportunity

L'écart entre nous

It’s a mix of folk and electronic with glipses of distorted electric guitars and reamped percussions. Hope you like it !! Best of luck to everyone!

Liv

https://soundcloud.com/plaidlion/morganlefay

I’m trying to go for a vibe similar to London Grammar’s cover of “Nightcall,” Camille Jansen’s “Blurry Days,” or Lana del Rey’s “A&W." I’m more of a “jazz-adjacent” vocalist.

Thank you so much for your consideration!

But seriously, my calling the last four years was playing music in medicine ceremonies. I wrote songs to help people heal.

This song flew into my head as I was driving to a ceremony.

Since then it has helped literally helped demons, heal trauma, while also managing to bop.

Would be honored for Mr. Blake to mix this!

https://soundcloud.com/kylenicolaides/awaken-to-her-love

u know i luv u

From average friends

Hi Tony!!

We are Average Friends. We have been making music for a minute and we are finally getting stuff over the finish line. Submitting our track “u know i luv u”.

We wanted it to feel like a modern pop record with that early 2000s heart on your sleeve vibe. Looking for help on getting our vocals to sit in front of such a punchy mix.

Would be honored. Good luck to all!!

u know i luv u

From average friends

Hi Tchad and MWTM fam,

We are Average Friends. We have been making music for a minute and we are finally getting stuff over the finish line. Submitting our track “u know i luv u”.

We wanted it to feel like a modern pop record with that early 2000s heart on your sleeve vibe. Looking for help on getting our vocals to sit in front of such a punchy mix.

Would be honored. Good luck to all.

Thank you for taking the time to listen.

This song comes from a very personal place for me. I wrote and produced it with a deep focus on emotion, space, and musical honesty. My goal was not just to make a track, but to create something that truly breathes and tells a story.

Having the chance to hear it through your perspective and experience would be incredibly meaningful. Your mixes have shaped so many records that inspired me along the way, so the idea of this song passing through your hands is both exciting and humbling.

Thank you again for the opportunity and for listening.

All the best,
Diogo

I’m submitting a jazz hip-hop production of mine. It’s a European rap duo who rap in 5 different languages in their music. We turned this into a fun and punchy piece, adding Sth American indigenous instrumentation as well as some flute and bass clarinet played by a real talent in the Berlin jazz scene. Hope you like what you hear: it’s straight to the point and would likely sound better with you guys lending your expertise. Hope you like it!

The song was recorded and mixed in my own studio. It combines organic instruments with layered textures and fairly detailed arrangements, so I feel it has the potential to evolve in interesting ways under Tchad’s approach.

Excited to see how the process unfolds, and wishing everyone the best of luck!

https://samply.app/p/Cf5SstrTpmNV8fIQ35Ab?si=cqO011IzHYNM4roHNXrlsAOWdkb2

Thank you so much for considering me for this opportunity. How generous of you to share your talents and experience. I’m submitting “28 Until The End,” an unreleased track from the debut EP for my solo alt-folk artist project, Asayo. I write, perform, produce, and mix all of my Asayo releases, which has been really gratifying and a great learning experience, but this song was by far the hardest to mix because of its build from a few instruments to a pretty full arrangement by the end (vocals and background vocals, guitars, piano, wurli & organ, percussion, and live and midi strings). Did I get carried away? Maybe.

I’d love to learn from your process and perspective as a mixer with both technical instincts and producer sensibilities. I’m building my mixing technique on top of a songwriting/production foundation, and this song has a significant build that I think requires precision in the mix for the arc to land. I also wanted the textures of each instrument to be able breathe while still feeling integrated as part of a cohesive whole. My goal in the mix was to keep the opening intimate and breathable, then let it fill out gradually as the song builds (except for that little blip post-chorus that expands and then contracts again), so it grows gradually into a full, powerful ending without getting too congested. I’d love to see where your instincts would take you and what you might hear that I haven’t.

Also a note, the track is explicit but I have a clean version if that makes a difference.

Asayo · 28 Until The End (Explicit) - Unreleased

Thanks again for the opportunity!! I’d be honored to have your help.
Kate

MWTM_Admin:

Tony

Hi Tony! Thank you so much for considering me for this opportunity. How generous of you to share your talents and experience. I’m submitting “28 Until The End,” an unreleased track from the debut EP for my solo alt-folk artist project, Asayo. I write, perform, produce, and mix all of my Asayo releases, which has been really gratifying and a great learning experience, but this song was by far the hardest to mix because of its build from a few instruments to a pretty full arrangement by the end (vocals and background vocals, guitars, piano, wurli & organ, percussion, and live and midi strings). Did I get carried away? Maybe.

But I’d love to learn from your process and perspective as a mixer with both technical instincts and producer sensibilities. I’m working to build my mixing technique on top of a songwriting/production foundation, and I really connect with your hybrid approach to production (classical song-first with some atmospheric and experimental sonic elements). This track leans more classic, with the production mirroring the emotional arc, and I think the mix needs to pretty precise for the build-up to stick the landing. My goal in the mix is to keep the opening intimate and breathable, then let it fill out as the song builds so it feels expansive and powerful without getting too congested.

Also a note, the track is explicit but I have a clean version if that makes a difference.

Thanks again for the opportunity!! I’d be honored to have your help!

Kate

Beyond cool!

I’ll pitch an oldie of mine that I dug out of the YouTube graveyard called “Let’s Give it a Try”.

The track has some good hooks, but the vocal performances really sell it. There’s also a couple

nice surprises. All real players and instruments…well mostly.

If you listen close you may hear Susie from “Curb Your Enthusiasm” utter a sound. Don’t tell anyone!

There’s a lot of stylistic flavors in this but I’m still not sure what it wants to be.

I’m pretty sure the producer and mixer (Me) had some commitment issues as perhaps the production/mix is too generic.

Short of recutting this track, my thought is this needs a mix with a really strong point of view.

BTW, that really is me playing the vibraslap. None of that AI shit!

Enjoy!

Jamie

Let's Give it a Try-Lyric Video

Weirdly, I was just thinking, “what would Tchad Blake do if he got his hands on a tune of mine?”.

What are the odds??

Let’s give it a shot!

Here’s an old finger buster guitar tune of mine that started out as a guitar/vocal thing.

I think this is the 2nd tune I ever wrote in my early 20’s. Now I’m 60.

My buddy Jason Perrin could sing the phone book and make you believe. I sure did.

Then I started adding stuff because…well, I own a lot of stuff and might as well use it.

This is the result called “Never Forget”.

Up it went to the song graveyard called Youtube where no one knew to even forget.

I still think it’s really fun and cool. Perhaps with Tchad’s touch it would connect with folks.

Enjoy!

Jamie

Never Forget Lyric Video

The Prescriptions Scraps

From Parker McAnnally

This is a song by my band The Prescriptions - it was recorded mostly live as a band, then twisted and ultra harmonized and made mad - it’d be a blast to hear Tchad cut loose on this. Thanks!

It’s meant to be angry and in-your-face with a powerful lyrical message and a driving beat fit for a crowd. While the mix I did was serviceable, given the short amount of time I was able to spend, I feel like I left a lot of power on the table. In particular, I think those drums could cut through far better than they do.

It would be AMAZING to have a true master’s talents put towards this track. And it would likely also show a lot of MWTM viewers/listeners how to approach their records to maximize the power of what’s meant to be conveyed.

Either way, I’m so grateful just to get to submit it for consideration. Thank you for giving it a listen!

https://youtu.be/sRtN0G7JspE?si=Vu6vDICO5v7LFXTu

It’s meant to be angry and in-your-face with a powerful lyrical message and a driving beat fit for a crowd. While the mix I did was serviceable, given the short amount of time I was able to spend, I feel like I left a lot of power on the table. In particular, I think those drums could cut through far better than they do.

It would be AMAZING to have a true master’s talents put towards this track. And it would likely also show a lot of MWTM viewers/listeners how to approach their records to maximize the power of what’s meant to be conveyed.

Either way, I’m so grateful just to get to submit it for consideration. Thank you for giving it a listen!

"Justice for Minneapolis" song

Be amazing to see what someone like Tchad could do with it.

I’m Erik and I engineered and Co-produced the song with Deirdre. We recorded the basic tracks in Los Angeles and then the finishing overdubs were done at project studios in Philly and New york. I think it’s a beautiful song that currently is very clean and pretty raw with the exception of some reverbs. The idea with this one was to let the vocal really carry things but it could really benefit from some treatment in the chorus and bridge to add emotion! Myself and Deirdre have always geeked out on Tchad’s use of distortion especially on more vocal forward artists like Sheryl Crow and Fiona Apple. Here’s a note from the Artist for this MWTW mix webinar opportunity :

“My process as a songwriter has always been pretty intuitive, but production doesn’t come as naturally to me. I can get tripped up about what goes where, when to dive in on sound, and when to pull back. My North Star has always been artists like Sheryl, Fiona, Ani- women who pour their heart out in their lyrics, but aren’t afraid of a little grit in their music.

I gravitate towards producers and engineers who love raw sounds and character. From talking with engineers, I learned that a lot of my favorite records had someone in common- Tchad Blake. Damn, I thought, maybe in another life I could work with that guy. “

The production process focused on giving more prominence to the bass, and I tried to make it a calm groove, because that calmness reflects my relationship. In the end, I hope it becomes a journey of love for anyone who dares to listen to it.https://www.youtube.com/watch?v=LMgEh1t3yDA

The production process focused on giving more prominence to the bass, and I tried to make it a calm groove, because that calmness reflects my relationship. In the end, I hope it becomes a journey of love for anyone who dares to listen to it.

Thanks for the opportunity! Please find attached below a track titled ‘Fleeting Signs’ written for my project Shadow-Line.

The song initially derives from a jam with a friend (in the context of a professional music production course we were attending) but we then developed the idea further. The intention for the verse was to have real drums imitating the sound or pattern of a drum machine whilst still retaining the character and imperfections of a real performance. Same for the guitars within the chorus, that are not exactly on the grid, in order to preserve the live feel.

This is a rough mix in the box I did longer than a year ago. I left it there whilst working on other material, but what better chance to revive it than that of having Tony Hoffer possibly creating a final mix out of it.

What I wanted from this simple song in the first place? Evoking a sort of melancholic feeling, that which is often given in life by those (fleeting) signs that may have been present throughout - in our character, our interactions etc. - but that we were too distracted taking notice of as they presented themselves, therefore retrospectively creating the feeling of missed chances.

https://soundcloud.com/shadow-line-583104532/sl-fleeting-signs

Thank you,

Val

It has been assembled probably like a bunch of people on here, sessions spread across different places against day jobs etc. We have a few writers in the band which is a joy for creativity. We are also trying different textures, and dynamics…we are all fans of distortion and noise.

This EP I am just working on the mixes at the moment so would be super interesting to have Tchad mix whilst it is so fresh for me and to see what he sees as challenges to what I thought when I was working on it.

Drums and bass on this one were recorded in a local studio here in South London, guitars vocals and overdubs were recorded by me in our rehearsal space or at my house

Love Tony’s work. Excited for this opportunity.

I’m submitting a track called ‘Kiss in the Dark (Night Bliss version)’ by my project Spanish Prisoners. It’s something I wrote, recorded, produced and mixed back in 2023 but haven’t released until this point. It’s a reworking of a song that was on our previous album Don’t It Sting, which came out a few years ago, but this version changes the structure, adds a bunch of new elements—harmonies, electronic drums, more guitars, etc.

I’m quite proud of the vibe but never thought the mix was as strong as it could be, so I’d love to hear what Tony does with it if its selected.

Leo / Spanish Prisoners

Nørstadt - Swim

Hope it’s ok to submit the same track to both.

Please see below a soundcloud link to my unreleased song ‘Beep Bop Robot’

I would put this in the alternative rock bracket.

Thanks for your time to listen : )

Chris

https://on.soundcloud.com/nSPty0pO9bu6fX75wr

Please see below a soundcloud link to my unreleased song ‘Beep Bop Robot’

I would put this in the alternative rock bracket.

Thanks for your time to listen : )

Chris

https://on.soundcloud.com/nSPty0pO9bu6fX75wr

Thank you

Stefania Barbato - Babar (Music Video)