Question 1

What if I only have a rough voice memo idea - is that enough to start?

Accepted Answer

Absolutely. A voice memo into your phone captures the melody, the feel, and the intent - that's the most important part. Production is about realising the vision, not receiving a polished demo.  Many of the best songs start as someone humming an idea over piano or acoustic guitar into a phone in their kitchen. Don't let an unfinished demo stop you from reaching out - that's exactly what the production process is for.

Question 2

Should I record my demo to a metronome/click track?

Accepted Answer

It's not essential, but it's genuinely very helpful. Recording to a click means the production grid aligns cleanly with your performance, making it far easier to build arrangements, add instrumentation, edit sections, and stay consistent across multiple recording sessions.  If your phone or DAW has a metronome, use it - even at a rough tempo. If performing naturally without a click feels better for the song, that's completely fine too - we'll work with it.

Question 3

Should I include lyrics and chord charts?

Accepted Answer

Yes, please - both are extremely helpful. Lyrics let me understand the structure, know what sections are verses vs. choruses vs. bridges, and make informed arrangement decisions that serve the words.  Chord charts give a harmonic map of the song so I can write and perform parts that fit musically without guessing. Even a rough chart (Verse: Am F C G / Chorus: F C G Am) is useful. If you don't have a formal chart, a rough note in the discussion area is totally fine.

Question 4

What genres and styles do you work with?

Accepted Answer

Most genres - pop, rock, folk, country, R&B, electronic, ambient, jazz, soul, singer-songwriter, and many more. Over 20 years the work has covered a wide range, and the approach adapts to fit the music rather than imposing a house sound.  There is a genuine preference for original music. Covers are considered on a case-by-case basis - particularly interesting reinterpretations, genre-flips, or covers that have something new to say are always welcome. Straight reproductions are generally not a great fit.

Question 5

What audio format should I send?

Accepted Answer

WAV or AIFF only - no MP3s, no AAC, no compressed formats. Compression throws away audio information that can't be recovered, and the artefacts compound through every stage of mixing and mastering.  Record and export at 24-bit and at the highest sample rate you recorded at. If you tracked at 48kHz, send 48kHz. There's no benefit in upsampling - just use whatever you actually recorded at. 44.1kHz and 48kHz are both perfectly fine.

Question 6

Do you accept full DAW sessions (Logic, Pro Tools, Ableton etc.)?

Accepted Answer

No - stems only. A Logic session from your machine won't open correctly on mine (missing plugins, different versions, sample paths broken), and even if it did, working inside someone else's session is much slower than working from clean stems.  The good news: exporting stems forces you to make commit decisions early, which almost always results in a tighter, more focused mix anyway.

Question 7

How should I organise and name my stems?

Accepted Answer

Name files clearly and logically - Kick, Snare, Hihat, Bass, RhythmGtr, LeadGtr, Keys, LeadVox, Harmony1 etc. Group related files together in folders if you have many tracks.  All stems should start at the same timecode (bar 1, beat 1) so everything lines up when imported. Don't bounce only the sections where an instrument plays - export the full length from the top so alignment is automatic.  Upload everything through the JNP Client Portal's cloud drive and drop a note in the discussion area explaining anything unusual about the session. If you need to record additional parts, the portal also has a built-in DAW you can use to track vocals or instruments and export straight to JNP.

Question 8

How many stems should I send?

Accepted Answer

As many as you have - there's no limit. More stems give more control over the mix. If you're unsure whether to include something, include it. It's always easier to mute a track than to ask for something that wasn't exported.  For mastering-only jobs, send a single stereo mix (WAV/AIFF, 24-bit) with at least 3-6dB of headroom - don't brick-wall limit the master bus before sending.

Question 9

What are reference tracks and why do they matter?

Accepted Answer

Reference tracks are existing commercial songs that represent the sound you're going for - the vibe, the production density, the mix loudness, the sonic character. They're one of the single most useful things you can provide for both mixing and production work.  They remove ambiguity. "Warm and intimate" means different things to different people; a Phoebe Bridgers track says it instantly. References don't mean the result will sound identical to the reference - they calibrate the target.  Spotify or YouTube links are perfect. Aim for 2-3 references and note what specifically you like about each (the drum sound, the vocal treatment, how spacious it feels, etc.).

Question 10

Why do sessions happen remotely rather than in your studio?

Accepted Answer

Because the whole point of tuition is that you get better - in your space, on your gear, in your workflow. Coming to a professional studio for a lesson and then going home to a bedroom setup creates a disconnect. The skills don't translate because the environment is completely different.  Working together remotely means every technique, every decision, every workflow improvement happens directly inside your setup. What you learn during the session is immediately applicable the moment the call ends, because it already happened in your room.

Question 11

How does the audio work during a session - can we actually hear what each other is doing properly?

Accepted Answer

Yes - this was a problem worth solving properly, so it has been. The JNP Client Portal streams studio-quality audio from every instrument and from the DAW itself, live in both directions during the call. This isn't standard video call audio - it's the kind of fidelity where we can actually make meaningful mix decisions together in real time.  Sessions also use headphone-corrected audio, which compensates for the frequency response characteristics of your specific headphones. That means when we're listening critically and making decisions, we're both hearing the same corrected reference rather than whatever your headphones happen to colour the sound with.  Between sessions, you can also use the portal's built-in DAW to record practice takes, demos, or ideas - with loop markers, take comping, and the ability to download a mix of what you've done or export straight to JNP for review.

Question 12

How do we share files during a session?

Accepted Answer

The JNP Client Portal integrates a cloud drive service alongside the video and audio. Files transfer directly to and from Amazon S3 buckets, which means sending a full session stem or a rough bounce across is fast - genuinely fast, not "wait a few minutes while this uploads" fast.  There's also a built-in DAW right in the portal - you can record vocals or instruments, set loop markers, comp takes, and export directly to JNP in a format compatible with our production workflow. You can even download a mix of what you've recorded.  The practical result is that we can work in a real back-and-forth way during the session: you make a change, bounce it, I hear it at full quality, we talk about it, you adjust. No compression, no delay, no workflow interruption.

Question 13

What topics and skills can we cover in tuition?

Accepted Answer

Pretty much anything in the production and audio engineering space. Common areas include mixing fundamentals, DAW workflow and organisation, music production and arrangement, recording and mic technique for home setups, mastering concepts and loudness management, plugin use and signal chain, ear training for mixing, and genre-specific production approaches.  Tuition sessions are shaped around where you are and where you want to get to - there's no fixed curriculum. If you have a specific project you're stuck on, we can work through that directly. If you want to build a foundational skill set, that's equally valid. Both approaches work.

Question 14

What DAWs do you teach?

Accepted Answer

Any DAW you're working in. Studio One is the primary working DAW, but sessions have covered Cubase, Logic, Pro Tools, Ableton, Reaper, and others. The principles transfer across tools, and the focus is always on the music and the ears rather than the software itself.  If you're just starting out and haven't chosen a DAW yet, a quick conversation before the first session can help point you in the right direction based on what you're trying to do.

Question 15

I don't have acoustic treatment - should I be worried?

Accepted Answer

Not at all. The vast majority of artists who send files have recorded in a bedroom, lounge room, or home office - often with no treatment whatsoever. This is completely normal and not a barrier.  For vocals, the simplest tricks (recording in a wardrobe surrounded by hanging clothes, putting a duvet over your head and the mic, using a thick rug on the floor) can significantly reduce room reflections without spending anything. If you're unsure how to get the best out of your recording space, just ask - practical, free advice comes with every project.

Question 16

What if my recording has background noise or room reverb?

Accepted Answer

Modern tools - including AI-based processing - can do remarkable things with problematic recordings. Noise reduction, de-reverberation, transient cleaning, and spectral repair have all advanced enormously in recent years.  Background noise (air conditioning, traffic, room hum) and moderate room sound can usually be addressed effectively. Severe issues are always disclosed upfront, and in those cases, guidance on re-recording specific elements (often just a sentence or two of vocal, for example) is the most efficient fix.  The short version: record the best you can in the environment you have, and let the processing do the rest.

Question 17

What microphone should I use for home recording?

Accepted Answer

Whatever you have is the starting point. A decent large-diaphragm condenser (Audio-Technica AT2020, Blue Yeti, Rode NT1) is ideal for vocals and acoustic instruments, but a dynamic mic or even a quality headset mic can produce usable results.  Placement matters more than the mic itself - close-mic for intimacy and reduced room sound, off-axis slightly to reduce plosives, and pop filter if available. If you're unsure, a photo of your current setup sent through the client portal is enough to get specific advice.

Question 18

How does the whole process work end to end?

Accepted Answer

1. Get in touch via the quote form or contact page with details about your project. 2. Receive a quote and timeline - usually within 24 hours. 3. Accept and receive access to the JNP Client Portal - a custom-built platform with a built-in DAW, studio-quality audio streaming, cloud storage, discussions, and invoicing. 4. Upload your stems or demo and any reference material. You can also use the portal's built-in DAW to record vocals or instruments, comp takes, and export straight to JNP. 5. Work progresses - you'll receive updates and can give feedback at each stage. Join a live session with studio-quality audio streaming to listen in while things are created. 6. Final files delivered through the portal, ready for release.  Everything is handled online. There's no need to travel, book studio time, or work around anyone else's schedule.

Question 19

How much input can I have during the process?

Accepted Answer

As much or as little as you want. The JNP Client Portal has a built-in discussion area for feedback at every stage. Live video sessions are available with studio-quality audio streaming - you can listen in while parts are being recorded or the mix is being worked on, hearing every instrument and the DAW as they actually sound. Some clients love this, others prefer to receive the finished result and give notes.  You can also use the portal's built-in DAW to record your own vocal or instrument ideas, comp takes, and export them straight to JNP - so creative input doesn't have to wait for a scheduled session.  There's no right way. The process is shaped around how you like to work.

Question 20

How many revisions do I get?

Accepted Answer

Generally, we work until you're 100% happy. However, for certain online-only services like fixed-price mixing and mastering, there are usually specific revision limits outlined in your package or agreement. If we need to go beyond those, further rounds are always possible for a small extra fee.  We also operate on a standard of "alignment" - if it feels like the feedback is taking the project sideways or away from the original brief, we'll let you know. We've found the best results come from working with artists who have a clear vision of what they're after.

Question 21

How long does a project take?

Accepted Answer

It depends on the service and the scope. A single mix typically turns around within 3-7 business days. Mastering is often 1-3 days. Full production projects are scoped and scheduled upfront - an EP can take several weeks to several months depending on complexity and how quickly feedback is returned.  Timelines are always discussed and agreed on before work begins. Rush turnarounds can sometimes be accommodated - ask when you get in touch.

Question 22

Do you work with international clients?

Accepted Answer

Yes - the entire workflow is online. Files go back and forth through the client portal, feedback happens asynchronously or via live video session with studio-quality audio streaming, and final delivery is digital. The portal also has a built-in DAW so you can record demos or parts from anywhere in the world and export straight to JNP. Time zones are managed through the portal's messaging system.  Clients from Australia, the US, UK, Europe, Asia, and elsewhere are all welcome.

Question 23

What happens after the project is finished?

Accepted Answer

Final files are delivered as high-resolution WAV masters ready for streaming platforms, physical distribution, or further licensing. You will receive the final stereo mixed or mastered files depending on your project.  Please note that instrumental versions or stem exports are not included in the standard flat-rate services. Small extra charges apply for these as they require additional time and processing to ensure they match the final master.  Your files remain accessible in the client portal. Project assets and original stems can be retained by arrangement if you anticipate returning for future sessions.

Question 24

How do I get started?

Accepted Answer

The easiest way is the Quote form - fill in as much detail as you have about your project (genre, number of tracks, what service you need, any reference tracks) and you'll hear back within 24 hours.  If you'd rather have a conversation first, the Contact page has direct email, phone, and WhatsApp. No obligation, no hard sell - just a straightforward discussion about whether it's a good fit.

Question 25

When do I pay?

Accepted Answer

All services are paid for upfront. Store items are handled at checkout via Stripe or PayPal, while custom-quoted projects are paid via invoice before work begins.  This policy comes from over 20 years of experience. It ensures that every project is taken seriously from the start, allows me to commit 100% of my time and resources to your music without administrative delays, and keeps the workflow focused entirely on the creative outcome.

Question 26

Do you offer discounts for larger projects or returning clients?

Accepted Answer

Volume discounts are built into the EP and Album fixed-price packages for music production. For other larger or ongoing projects, pricing is discussed as part of the quote process - long-term working relationships are always factored in.  Coupon codes are occasionally issued for returning clients and specific promotions. If you have one, it applies at checkout.

Question 27

What DAW do you use?

Accepted Answer

Studio One is the primary DAW - after 20 years of using Cubase, it's been the home base for the last few years and the workflow has never been tighter. That said, the focus is always on the music rather than the tool, and tuition sessions can cover any DAW you're working in: Cubase, Logic, Pro Tools, Ableton, Reaper, or anything else.

Question 28

What does your studio setup look like?

Accepted Answer

The core of the studio is a **UAD Apollo X** interface for conversion and tracking. Hardware preamps from **Neve**, **API**, **SSL**, and **James Hardy** cover a wide range of colour and character depending on the source.  Outboard processing is a strong focus: custom-built **1176** limiters and **LA-2A** optical compressors, **Pultec** EQs, **DBX** dynamics, **SSL** bus compressors, and an ever-growing collection of guitar pedals repurposed for creative processing. Microphones span **Neumann**, **Shure**, **AKG**, **SE Electronics**, **Sennheiser**, **Beyerdynamic**, and **Royer** ribbon mics.  Monitoring is centred on a dual-subwoofer **Genelec** "The One" setup, with secondary monitoring on **Avantone**, **Adam**, and **KRK** for cross-referencing across different listening environments. **Beyerdynamic** and **Sennheiser** headphones are used for detailed tracking and critical listening work.  The studio is acoustically treated with custom-built panels designed and installed specifically for the room.

Question 29

What instruments are available for production and session work?

Accepted Answer

Keyboards and synths: **Roland**, **Yamaha**, **Oberheim**, and **Moog** synthesisers; **Hammond** organ, **Rhodes**, and **Wurlitzer** electric pianos. A solid range of sounds from vintage analogue to contemporary digital.  Guitars: **Fender**, **Gibson**, **Gretsch**, and **Taylor** acoustics and electrics, plus a collection of custom-built electric and acoustic instruments that cover tonal ground the production-line guitars don't.  Bass: **Atelier Z**, **Fender**, **Framus**, and **Warwick** basses covering everything from clean and articulate to aggressive and punchy.  Drum machines: **Roland** TR series for classic electronic and hybrid drum sounds.  If there's a specific instrument or sound you're after that isn't listed here, get in touch - the answer is often yes.

Question 30

What software and plugins do you use?

Accepted Answer

The full **UAD** suite runs throughout the session chain via the **Apollo X** interface. Beyond UAD: the full **Softube Console 1** suite for mix bus processing, the full **iZotope** suite for audio restoration, repair, and mastering workflows, the full **UVI** suite for instruments and sampling, and the full **Baby Audio** suite for creative and colour processing.  The plugin library goes well beyond this - these are the core suites in daily use. If you're curious about a specific process or sound, ask.

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Mixing & Mastering

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