AUDIO-LOGIK is your online mixing and mastering studio. We offer professional and affordable mixing and mastering services to artists, bands and labels. We are EDM artists and enthusiasts so our “specialty” lies within the electronic music realm, but we have worked with most music genres. We have the knowledge, tools and environment to enhance the sonic quality of any music.

Our studio has been meticulously constructed, acoustically treated, and tested for neutrality with full bass trapping, diffusion and absorption to ensure an accurate mixing and mastering work space and listening environment. Our monitoring chain contains some of the worlds best sound production gear available, and our list of world-class tools ensure we have what is needed for any job.

We pride ourselves on providing fast and reliable service, and we place great value on the relationships we create and maintain with our clients. We are confident you will not be disappointed by choosing Sub÷Divizion for your mixing and mastering needs.

Please contact us with any questions.


Song Mastering


Limited promotional rate


For Digital Distribution

Beatport, Juno Download, etc.

EPs:$35 per Song

Singles:$40 per song

$15 per song for MFIT


Stem Mastering


per track + $10 per stem


Stem Mastering

Stem Mixdown

Analog Summing of Stems

(See “Analog Summing” FAQ)

Stereo Bus Master


CD Master


flat rate


ISRC Code Embedding

Track Spacing

CD track text

DDP File Generation

(Error-free CD master file)


DAW Mixdown


per project


Ableton Live


Logic Pro

Other DAWs

(See “Audio Preparation”)



Audio Preparation


Make sure you are happy with the way your tracks sound before sending them to be mastered. A common misconception is that mastering can “fix” problems with your mix. This is not true. Mastering is the process of enhancing the sonic quality of your tracks, accentuating the important elements of your tracks, adding depth and color to your tracks, and making sure your tracks translate and sound the way you intended them to when played on sound systems ranging from small computer speakers to massive club PA systems. It is good practice to always have a reference track handy to compare the EQ and overall sound of your mix to during the mixdown process. Sending a reference track along with with your mix is always appreciated as this gives the mastering engineer an idea of how you would like your track to ultimately sound. Pay special attention to vocal sibilance or sibilance (“SSSSSSS” sounds caused by vocalists or other elements within your mix). Fixing these issues on single tracks during the mixdown process is far easier than trying to fix them during the mastering stage.

Don’t hesitate to send your mix to us if you are questioning if it is ready to be mastered. We are always willing to provide advice on your track before sending it to be mastered.

Make sure to ALWAYS leave some blank space before and after each track. We will always cut off any excess silence before and after each track as part of the mastering process. For example, if your song ends with a long tail of reverb that carries on for 30 seconds, make sure to leave 5 seconds of silence AFTER the reverb tail. If you would like your tracks to fade out or fade in, feel free to create those fades, or provide description of the fades you would like applied and we will create them for you.

Dynamic Range

Compression can be used on single elements/tracks of a mixdown, and also applied to the master bus to glue things together. the overuse of compression is becoming a trend and can suck the life out of your music. Although compression does fantastic things, be careful to not overdo it. There’s a fine line between proper compression and overuse. When in doubt, heir on the side of caution and dial it back a bit. One helpful tip is to apply it till you like it, and then back it off a little so the effects of the compression isn’t apparent to the listener. Keep in mind that the mastering engineer will be applying compression during mastering. If your track is over-compressed, this is very difficult, if not impossible to fix.


Mixdown your tracks so that the master fader peaks between -6 to -3 dBFS. This leaves the standard range of headroom most mastering studios will request. Make sure to remove any limiters or compressors on your master bus. We will use a number of methods to make sure your track is at a commercial level and the tools we use far exceed the sonic quality of plugins most producers use. Your biggest concern should be that you are happy with the way your track sounds in terms of eq and balance among the elements of your track before sending it to any mastering studio.

If you feel that the limiter or compressor on your master bus is absolutely imperative for your song to sound good, please send two versions: one with your limiter/compressor on the master bus, and one without.

Tip: it is good practice to NOT mix with a compressor or limiter on the master channel as this can negatively affect your mixing decisions.


It is important to not confuse headroom with simply turning down the master fader so that the overall volume of your track is between -6 and -3dBFS. If your individual tracks or master bus is clipping, turning down your master fader will only turn down the volume of your clipping track(s). The faders of each individual track should be lowered to create headroom. Most modern DAWs allow you to select every track and pull every fader down at once to preserve the fader settings you’ve worked so hard to perfect.

File Formats/Delivery

Please send Stereo WAV or AIFF files. 24 bit / 96 khz is the standard and preferred, but we can accept files up to 32 bit / 192 khz.

We do not accept anything lower than 16 bit / 44.1 khz, and please, no MP3, WMA, M4A, or OGG files.

Sending your files to us is easy! Just follow these four steps:

1. Click “Begin”

2. Complete the order form providing as much information as possible regarding your track(s) and your expectations.

3. Upload your files using Sub÷Divizion’s secure Wetransfer uploader (Don’t forget to send a reference track if possible).

4. Pay Online using Paypal.

Track Info

Within the order form you complete before uploading your audio files, provide all pertinent information regarding your tracks:

  • Artist name
  • Album name
  • Track titles for each track
  • ISRC codes per track
  • Song order (if applicable)

Whether we are mastering an entire CD for you or simply mastering a single stereo WAV file for digital distribution, it is important that you provide details regarding your tracks as this this information is embedded into the final production.

CD Master for Production


We provide two methods of delivering your CD master to you: We offer free DDP file generation and electronic delivery for you to provide to your CD duplication facility. This is the standard these days as it contains error checking algorithms to make sure the file is free of errors before duplication. We can also provide Red Book standard CD Masters which will be shipped to you at additional cost of $50 per Red Book CD Master. Feel free to contact us with any questions.


If you are a DJ, and have a promo mix you would like mastered before sending it to your CD duplication facility, the cost is the same flat $100 rate per mix CD, but if you would like individual track markers, CD text, etc. added to your final CD master, please contact us first as there are a lot of different options. Some of which are very time consuming and may result in additional cost.

Mixdown for Other DAWs

If you did not use Ableton Live (preferred), Logic Pro, or ProTools to create your project, please export each track within the project to a separate WAV or AIFF file and be sure to name them accordingly with a descriptive name (e.g. “hihats.wav”, “bass.wav”, “lead.wav”, “kick.wav”, etc.), and provide the EXACT tempo of the song.

Also, it is VERY important that you export each track for the entire length of the song. Even if one track is only used for 20 seconds at the end of your 6-minute-long song, export it from the beginning to the end of the song. Ultimately, every track should be the same length. This way all tracks will match up properly when imported into our DAW, and we will crop out any unnecessary silence within each track during the mixdown process.

Make sure to export your tracks in the highest sample rate and bit depth. It’s best to export in the native sample rate and bit depth used when recording the tracks, but ideally we like to work with 24bit / 96khz. We can accept up to 32bit / 192khz, and as low as 16bit / 44.1khz.

Lastly, we will provide you with a 24bit / 44.1khz version of the final mixdown, unless we are also mastering your track(s) for CD production, in which the final master will be a 16bit / 44.1khz file.

If you prefer a particular format that has not been mentioned, be sure to mention this in the order form.


Do you provide mastering samples?

If you have never used our mastering services before, send us your track using the “TEST DRIVE” form, and we will gladly master a stereo track of yours to show you our ability to enhance the sonic quality of your music. However, we do not provide samples while running promotions, and when we are not running promotions, free samples come second to paying clients. So, depending on the amount of work we have, the turnaround time may be up to a week or two. If you submit a track for a mastering sample and we are overwhelmed with work at the moment, we will always communicate this to you.

Due to the complexity and time necessary for DAW Mixdowns and Stem Mastering we don’t offer free samples, but feel free to bounce your 2 bus Master track to a stereo file, send it to us, and contact us with any questions. We are always willing to provide advice and/or simply chat about music.

How do I get my music to you?

Sending your files to us is easy! After reading the “Audio Preparation” section above, follow these four steps:

1. Click “Begin”

2. Complete the order form

3. Upload your files via our secure Wetransfer uploader

4. Pay Online with Paypal

Please send Stereo WAV or AIFF files. 24 bit / 96 khz is the standard and preferred, but we can accept files up to 32 bit / 192 khz.

We do not accept anything lower than 16 bit / 44.1 khz, and please, no MP3, WMA, M4A, or OGG files.

What is “Stem Mastering”?

Stem mastering is a process where the multiple audio tracks within your project are grouped into subgroups and exported as individual stems. Each stem represents groups of tracks/elements that make up your song. You send us the stems and we apply warmth, punch, color, and depth to each element of your song during the mixdown of your stems using analog summing and professional audio tools. After the mixdown, the 2 bus stereo file is then mastered and delivered to you.

Example of subgroups/stems sent for Stem Mastering:

Stem # 1 = stereo drum submix

Stem # 2 = mono bass submix

Stem # 3 = stereo leads submix

Stem # 4 = mono vocal submix

Stem # 5 = ‘FX sends’ submix (reverb, delay, etc.)

If you have any questions about stem mastering, please contact us.

What is “Analog Summing”?

The sound quality of digital vs. analog is an ongoing subject of debate. Analog recorders are still hailed for their warm and rich sound, a far cry different from the sounds of digital which some consider thin and flat. Many of this “cold sounding” issues have been remedied by the use of analog components like microphone pre-amps and compressors. Plug-in’s for audio processing have improved to mimic traditional vintage hardware components. Both of these improvements have pushed digital recording to the dominance it has today, but one aspect of the analog recording process has been forgotten by many, and that is the analog summing.

Analog summing is the re-creation of the final part of these mixing consoles. It is the process of bypassing the DAWs stereo mixing buss and, instead, sending the individual streams of audio out to a analog device to perform the summing. By using the computer as the primary recording medium, all the plug-ins and editing do not have to be abandoned, but can be utilized as normal. The summing is performed in analog giving the users the “analog sound”, yet maintaining all the benefits of digital recording. Using a summing amplifier solves one major problem found within digital, and that is the overloading of the mixing buss.

Can you make my song LOUD?

The short answer: Yes

The long answer: It depends on your definition of “LOUD”.

Dynamic range is sacrificed when raising “perceived loudness” of a stereo audio file. Over-compressing or over-limiting your tracks can suck the life out of them. A large portion of the mastering process is the task of ensuring audio will translate to, and sound great on all systems while saving some of the lively-ness of your masterpiece.

If you insist on LOUD, please send a reference track for comparison.

To learn more, go to and search “loudness war”…