When you deliver mixes to clients, the goal is a clean, professional handoff that’s ready for whatever comes next — mastering, distribution, or sync. That means the right file formats, sensible headroom, clear naming, and any stems the client needs, all packaged so nothing gets lost or confused. A smooth delivery is what turns a one-off job into repeat work and referrals. Here’s how to do it properly.
Export the right file format
Always deliver high-resolution audio, not MP3s, as your primary file. The standard is an uncompressed WAV (or AIFF) at the project’s sample rate and bit depth — typically 24-bit. Match the session’s sample rate rather than upsampling or downsampling unnecessarily. If you’re unsure why this matters, refresh on sample rate and bit depth explained. You can include an MP3 reference for easy listening, but the deliverable that matters is the full-quality WAV.
Leave headroom for mastering
If the mix is going to a separate mastering engineer (yours or theirs), don’t squash it. Leave headroom and avoid limiting or maximising the mix bus so the master has room to work. A common, safe practice is to peak a few dB below full scale rather than slamming the output. Don’t print a brickwalled, loudness-maximised mix unless the client explicitly wants a final, master-ready file. For context on loudness targets, see LUFS explained and what is mastering.
Name and organise files clearly
Sloppy file names cause confusion and lost time. Use a consistent, descriptive scheme so the client always knows what they’re opening:
- Include the artist, song title, version, and date or revision number.
- Mark revisions clearly (e.g. “v2”, “rev3”) so old and new files don’t get mixed up.
- Note alternate versions plainly — main mix, instrumental, vocal-up, clean, and so on.
Clear naming is part of revision control too — read how to handle mix revisions with clients to keep versions straight across rounds.
Provide the right deliverables
Decide what’s included before you start, then deliver exactly that. A typical package might be:
- The main mix as a full-resolution WAV.
- Alternate versions if agreed — instrumental, TV/clean, a cappella, vocal-up/down.
- Stems (grouped tracks like drums, bass, vocals, instruments) if the client or mastering engineer needs them, usually as a paid add-on.
- An MP3 reference for quick listening and sharing.
What’s in the package should match what your mixing contract promised, so there are no surprises at handoff.
How to export stems that actually line up
Stems trip people up more than the main mix does, because a stem that won’t drop straight back into the timeline is worse than no stem at all. The golden rule is that every stem must start at the same point and share the same length, so anyone can import the set, line everything to bar one, and hear the full mix when they play them together. Export each group from the very start of the session to the very end — including any silence at the head and the tail — so the files are all identical in length.
A few practical habits keep stems usable:
- Print at the same sample rate and bit depth as the main mix, so the whole package is consistent.
- Decide on the bus processing — most clients want stems with your group processing (compression, EQ, reverb) printed in, but without the master-bus chain, so they sum back to your mix. Confirm this rather than guessing.
- Keep group counts sensible — drums, bass, lead vocal, backing vocals, music or instruments, and effects is usually enough. Dozens of micro-stems just create work.
- Check they sum correctly by importing the printed stems into an empty session and playing them together before you send anything.
Deliver securely and professionally
Use a reliable file-transfer or cloud link rather than email attachments, which choke on large files. Send a tidy folder, a short note explaining what’s inside, and any listening guidance. Confirm the client can open everything. And remember a normal protection: deliver the final full-quality files only once payment terms are met — a practice you should have set in advance. A polished handoff signals reliability and is a big part of how you earn repeat bookings, as covered in how to make money mixing music online.
Common mistakes to avoid
Most delivery problems aren’t about the mix itself — they’re small process slips that make you look less professional than you are. Watch for these:
- Sending only an MP3. A compressed file is fine as a reference, but it’s not a deliverable for mastering or distribution. Always include the full-resolution WAV.
- Printing a clipped or over-limited file. If the meters hit full scale and the waveform looks like a solid block, you’ve left the master no room to breathe. Re-export with headroom unless a finished master was the agreed deliverable.
- Vague file names. “Final_mix_FINAL_2.wav” tells the client nothing. Use the artist, title and revision so the right file is obvious months later.
- Mismatched stem lengths. Stems that don’t all start and end together are the single most common complaint from mastering engineers — print them full-length from the session start.
- Delivering more than was agreed. Handing over stems or alternates you never quoted for sets an awkward precedent. Keep the package matched to the contract.
Frequently asked questions
What file format should I deliver mixes in?
Deliver an uncompressed WAV (or AIFF) at the session’s sample rate and bit depth, typically 24-bit, as the primary file. You can add an MP3 for easy listening, but the full-resolution file is the real deliverable, especially if it’s going to mastering.
How much headroom should I leave on a mix?
If the mix is heading to a separate mastering stage, leave headroom and avoid limiting the mix bus so the master has room to work — peaking a few dB below full scale is a common safe practice. Only print a loudness-maximised file if the client specifically wants a final master.
Should I include stems when delivering a mix?
Only if the client or their mastering engineer needs them, and usually as a paid add-on. When you do, group them logically (drums, bass, vocals, instruments) and name them clearly. Agree on whether stems are included before you start so it’s reflected in your quote and contract.
How should I send large mix files to a client?
Use a file-transfer service or a cloud link rather than email attachments, which usually fail on large WAVs and stem packages. Put everything in one clearly named folder, add a short note describing the contents, and ask the client to confirm they can download and open every file before you consider the job handed off.
