What this covers
You’ll have finished tracks that translate outside the studio, with vocals that sit up front, low end that behaves in cars, and masters that stay punchy without turning harsh.
I’ll take your demos or session files, tighten the performances, and build mixes that hold together on phones, cars, and decent speakers. I’ll send check-ins as we go, then deliver masters you can upload with confidence.
I start by listening to the demos and writing production notes you can act on. Then I build a scratch track and tempo map so edits, overdubs, and programmed drums lock to the same grid. From there I comp and tune vocals, mix with recall built in, and finish with masters matched for streaming and download.
A bit about me
I’m Euan McLeod, a producer and engineer, and I run Tay Light Studio as a one-person room on purpose. I like being the person who hears the first demo, sets the plan, and signs off the final master, because it keeps decisions consistent from day one to delivery.
People come to me when they want the mix to work everywhere, not just on the monitors in the studio. I’ll tell you early if the arrangement is fighting the vocal, if the bass part is masking the kick, or if the reference track you love is doing something different in the low end. Fixing that upstream saves budget downstream.
Recent work
Here are a few recent music production jobs that show the range, from full builds to mix and master finish work.
Portfolio
Indie single, full production. Started from a voice note and a rough guitar demo. I mapped tempo, built programmed drums, tracked vocals and guitars, then mixed and mastered. The artist left with clean and explicit versions for release day.
Band EP, recording and mix. Recorded live drums, bass, guitars, and vocals across several sessions, then edited and mixed for consistency between tracks. The goal was one sound across the whole EP, even with different arrangements and tempos.
Short film cue, mix and master. Received near-locked picture and stems, then delivered mixes to hit dialogue space and scene changes. Masters were printed to the spec the editor needed, plus alternates for quick swaps in the timeline.
“The mixes finally held up in the car, and the vocals stayed clear.”
Independent artist, releasing a first EP
Production notes document
A track-by-track set of notes after the first listen, covering arrangement tweaks, sounds to chase, and the fixes that make the biggest difference before we spend time recording.
SCRATCH TRACK AND TEMPO MAP
A tight guide version with the tempo map set, ready for overdubs and edits. This keeps programmed drums, guitar edits, and vocal timing working from the same foundation.
EDITED SESSION FILES
Your sessions cleaned up and organised, with comps built, obvious noise handled, and takes named so you can find anything fast in a recall or a later update.
Stereo mixes
Final stereo mixes for each track, printed at full resolution with a reference-level preview. You’ll also get the mix versions clearly labelled so there is no guesswork.
STREAMING AND DOWNLOAD MASTERS
Final masters exported and labelled for release, matched as a set so the project plays consistently from track to track. Files are delivered ready to upload to your distributor.
ALT VERSIONS AND STEMS SET
Clean and explicit versions where needed, plus instrumentals and a practical stems set for remixes, sync pitching, or live playback. I’ll agree the stem list with you before I print.
Pricing
These numbers are a starting point. I’ll quote from your demos and deadlines, then lock the price before I book studio time or start mix work.
Priced items
Get started
If you want me to hold dates for this music production, sign below and I’ll book the first working session.
1. Sign the proposal to confirm the scope and dates. 2. Pay the 25% booking invoice within 14 days to lock the slot. 3. Send your demos or sessions and reference tracks so I can start the notes pass.
Signature
Fee summary
Can you work from my home demos and get them release-ready?
Yes. I can start from phone demos, rough band takes, or half-finished sessions. The first step is a listen and a notes pass so you know what can stay, what needs re-recorded, and what I can fix in edit and mix.
HOW MANY MIX REVISIONS DO YOU INCLUDE, AND WHAT COUNTS AS A REVISION?
I include two mix revision rounds per track. A revision is a set of changes you send in one message, then I turn a new mix. New parts, new vocals, or a rewritten arrangement are new production time, not a revision.
WHAT DO YOU NEED FROM ME BEFORE WE START RECORDING OR MIXING?
I need your rough demos or session exports, your release deadline, and one or two reference tracks that show the direction. If we’re mixing, I’ll also ask for consolidated stems or the full session so nothing is missing.
CAN YOU DELIVER CLEAN/EXPLICIT VERSIONS AND INSTRUMENTALS/STEMS?
Yes. Tell me what versions you need before I print finals so I can build them into the mix session cleanly. I can deliver clean and explicit, instrumentals, and a stem set with names and start points that line up.
Payment
To book the work, I take 25% when you sign off on this proposal. The other 75% is due when I hand over the finished work. Each invoice is payable within 14 days of its date.
What counts as done. Finished work means the delivery set I’ve quoted for: edited session files, stereo mixes, streaming and download masters, plus any agreed alt versions and stems. I release the final files once the balance is paid.
Revisions. I include two mix revision rounds per track. A revision is one message with a list of changes, then I turn a new mix. New parts, new vocals, or arrangement changes are new music production time.
Changes to scope. If the track count, arrangement, or recording needs change once we start, I’ll price the extra music production time before I do it. If you say yes, I’ll schedule it and add it to the invoice.
What I need from you
Before I start, I need your rough demos or session exports, your release deadline, and one or two reference tracks. For mixing, I also need consolidated stems or the full session so nothing is missing.
Session timing. I’ll agree session dates and turnaround times with you before I start. If I’m waiting on files, approvals, or revision notes for more than a week, I may move your work in the schedule until they land.
File delivery. I deliver final mixes and masters as WAV files, with MP3s if you want them for quick checks. If you need clean and explicit versions, instrumentals, or stems, tell me before I print finals.
Ownership. You own your songs and recordings. I keep the right to use short clips for my portfolio after release, unless you tell me in writing that the project is confidential or under embargo.
