CONTROL ROOM RESOURCE

Client File Prep & Delivery Guide

A clear, modern standard for how to prepare and deliver multitracks for mixing. Follow this guide and your mixes will move faster, smoother, and with fewer revisions.

For artists, producers, and worship teams Applies to any DAW Updated for current industry workflow

⇩ Jump to Quick Client Checklist Short, swipeable summary you can copy, paste, and reuse with your own clients.

Start here

Why File Prep Matters

Clean, consistent multitracks are the foundation of a great mix. When your files are organized and exported correctly, your mixer can focus on tone, emotion, and impact—not hunting for missing parts or fixing technical problems.

Following this guide helps ensure:

No missing audio, lost parts, or corrupt files.
No timing issues caused by clips starting at random points.
No unwanted FX burned into tracks that should be clean.
Faster turnaround times and fewer revision rounds.

Whether you’re a signed artist, a home-studio producer, or a church volunteer running on weekends, you can follow these same steps and get professional-grade results.

Note from David Glenn: For mixing, clients send multitracks (the individual recorded tracks), not stems. Stems are typically printed by the mixer after the mix is finished. I use Dropbox File Request folders for multitrack delivery because it keeps everything organized and automatically creates a triple-backup: the original upload, my archived copy, and the active mix session.

Section 1

General Export Settings

These are the baseline technical settings that keep your multitracks clean, consistent, and compatible with any modern mix environment.

Sample Rate & Bit Depth

Export all audio at:

44.1 kHz or 48 kHz
24-bit or 32-bit float

Use the native sample rate of your session whenever possible.

File Type

WAV is preferred for all files.
AIFF is acceptable if that’s what your DAW supports.
Do not send MP3 or AAC files as your main multitracks.

Start Point & Alignment

Every track should start at bar 1 / 00:00:00, even if the audio comes in later. This ensures all multitracks line up perfectly when imported into the mix session.

Track Naming

Use clear, descriptive names—for example:

LeadVox_Main, LeadVox_Dbl, BGV_High, BGV_Low
Kick_In, Kick_Out, Snare_Top, Snare_Bottom, OH_L, OH_R
Bass_DI, Bass_Amp
GTR_Rhythm_L, GTR_Rhythm_R, GTR_Lead
Keys_Piano, Keys_Pad, Synth_Lead

Avoid generic names like “Audio_01” or “Track_5.”

Section 2

Vocals (Leads & BGVs)

Vocals usually carry the song. Clean prep here saves the most time and has the biggest impact on your final mix.

Tuning & Editing

If you’ve already tuned or edited the vocals:

Export the processed version you’re happy with.
Include a raw, untouched version if possible, so the mixer has options.

If you want the mixer to handle tuning or editing, send clean, unprocessed takes and make that clear in your notes.

Effects

Unless an effect is truly part of the sound, export vocals dry (no reverb, delay, or special FX).

If an effect is essential to the production, export both:

LeadVox_Main_Dry
LeadVox_Main_FX (with your delay/reverb/creative effects printed)

Comping

Send the final vocal comp only, unless the mixer has specifically requested access to individual takes.

Section 3

Drums & Percussion

Whether you’re using live drums, programmed drums, or a hybrid, clear separation and labeling give the mixer full control over punch, width, and dynamics.

Acoustic Drums

Export each microphone as its own track:

Kick_In, Kick_Out
Snare_Top, Snare_Bottom
Tom_1, Tom_2, Tom_3 (labeled by position)
HiHat, Ride (if miked separately)
OH_L, OH_R
Room_L, Room_R (or Mono_Room)

Include any drum samples or layered hits as their own tracks, clearly named.

Programmed Drums

Do your best to separate the main elements:

Kick, Snare, Claps, Hats, Cymbals
Primary loops or percussion parts

If a stereo loop is a deliberate production choice, you can export it as a single track—just label it clearly (for example, “DrumLoop_Main”).

Timing

Finish any quantizing or timing edits before export. Don’t send half-edited drums.

Section 4

Guitars & Bass

Giving the mixer both DI and amp tones (when available) allows maximum flexibility without changing the heart of your sound.

Electric Guitars

Send the amp or amp sim tone you love.
Include a clean DI if you have it, in case re-amping is needed.
Print any essential FX as separate tracks (for example, “GTR_Lead_FX”).

Acoustic Guitars

Export mic and DI tracks separately if both were used.
Label parts clearly (for example, “AC_GTR_Rhythm,” “AC_GTR_Arp”).

Bass

Send Bass_DI and Bass_Amp if both exist.
Include any printed FX or parallel distortion as separate tracks.

Section 5

Keys, Synths & FX

Modern productions often rely heavily on keys and sound design. Group these elements in a way that preserves control without overcomplicating the session.

Keys & Synths

Export each meaningful element as its own track when possible:

Keys_Piano, Keys_Pad, Keys_Organ
Synth_Lead, Synth_Arp, Synth_Bass

Always render virtual instruments to audio. Don’t rely on the mixer having the same plugins or libraries.

FX & Atmospheres

Only send FX that are part of the production, such as:

Vocal throws and special delays
Reverse reverbs and swells
Risers, impacts, whooshes, and transition FX

Name these clearly, for example: FX_VoxThrow, FX_Riser_01, FX_Impact.

Section 6

Rough Mix, References & Final Checklist

A great rough mix and a short checklist at the end make sure nothing falls through the cracks before you send your project off.

Rough Mix & References

Include your latest rough mix (WAV or high-quality MP3).
Share 1–3 reference tracks that represent the vibe, tone, or balance you’re aiming for.

Final Pre-Send Checklist

All tracks start at bar 1 / 00:00 and line up correctly.
Files are exported as WAV, 24-bit or higher, at 44.1 or 48 kHz.
Track names are clear and descriptive—no “Audio_01” or “Track 5.”
Vocals are either fully tuned/edited or completely clean, not half-finished.
Drum, guitar, bass, keys, and FX tracks are separated in a way that makes musical sense.
Rough mix and any reference tracks are included in the folder.

Delivery

Once everything is ready, upload your folder via the link your mixer provides (Dropbox, Google Drive, WeTransfer, etc.).

QUICK CLIENT CHECKLIST

Multitrack Prep – Swipeable Summary for Your Clients

This is the fast, client-facing version of everything above. Use it when you need to send simple, clear instructions without overwhelming anyone with technical details.

You have full permission to swipe this entire summary, tweak the wording, and reuse it in your own emails, PDFs, onboarding docs, or studio templates.

1 File Type & Quality: Export every track as WAV (24-bit or higher) at 44.1 or 48 kHz. Don’t send MP3s as your main multitracks.
2 Start Point: Make sure every track starts at bar 1 / 00:00, even if the part comes in later. This keeps everything perfectly in sync.
3 Track Names: Use clear names like LeadVox_Main, BGV_High, Kick_In, Snare_Top, Bass_DI, GTR_Rhythm_L, Keys_Piano, FX_Riser_01. Avoid “Audio_01” or “Track_5.”
4 Vocals: Send your final vocal comp. If you’ve tuned/edited, send that version—and if possible, also include a raw, untouched version as backup.
5 Vocal & Track FX: Only print FX that are part of the sound (throws, special delays, creative reverbs). When in doubt, send a dry version plus a separate FX track.
6 Drums: Separate key elements: Kick, Snare, Toms, Hats, Cymbals, OH, Rooms, main loops, and percussion. Clearly label any samples or layered hits.
7 Guitars & Bass: Send the tones you love (amp / sim) and include DI tracks if you have them. Print important FX as their own tracks (e.g., GTR_Lead_FX).
8 Keys, Synths & Atmospheres: Bounce virtual instruments to audio (pianos, pads, organs, synths, swells, risers, impacts) and name them by role, not plugin.
9 Rough Mix: Include your latest rough mix (WAV or high-quality MP3) so the mixer can hear your current balance, FX, and overall vibe.
10 References: Share 1–3 commercial tracks that represent the sound you’re aiming for in terms of tone, punch, and width.

How to use this:

Copy/paste this checklist into an email or a simple PDF and send it to your artist, producer, or worship leader before they upload files. You can personalize the language, but keep the steps in place.

What this guarantees:
Clean, organized multitracks that line up perfectly, sound great, and let your mixer focus on emotion, impact, and translation—not tech support.

You are welcome to reuse this inside your own studio systems. Consider it part of your Control Room toolkit.

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