Remote · Nationwide
Remote Post Mixing for Producers Nationwide
Sending a mix to someone in another city only works if the process is predictable. This page explains exactly how a remote project runs at Mix My Spot — what you send, what comes back, when it comes back, and how notes and approvals are handled — so you can hand off a trailer, spot, episode or feature with the same confidence you'd have walking into a stage down the street.
How Files Are Transferred
Everything moves through our secure online portal — no email attachments, no consumer file-sharing links left open indefinitely. You receive an upload link for your turnover; deliveries back to you are passcode protected and auto-terminate after seven days. If your studio or network requires its own transfer system (Aspera, Signiant, MediaShuttle, a client-managed drive), we'll work inside it.
What an Initial Turnover Should Contain
A complete first turnover contains an AAF or OMF of the current cut with handles, a reference video with burned-in timecode matching that cut, all music as separate files or stems, any VO or ADR that isn't already in the timeline, and your delivery specification. Notes on intent — the tone you're after, what's temp, what's locked — save a full revision round.
How Specifications Get Clarified Before Work Starts
Before a single fader moves, we confirm the target format (stereo, 5.1, 7.1 or Atmos), the loudness standard, frame rate and sample rate, the deliverable list, and who the final approver is. Remote projects fail when a spec is assumed rather than confirmed, so we ask these questions up front and put the answers in writing. If something in your turnover conflicts with the spec, you hear about it the same day, not at delivery.
Secure Review and Approval
You review an Approval Mix — a QuickTime with the new mix married to your reference picture, so what you're hearing is locked to what you're seeing. It's delivered through the portal, passcode protected, and expires automatically. Share it with your client, your network or your agency without exposing an unreleased cut.
How Revision Notes Are Handled
Send notes however is easiest — a timecoded list, a marked-up QuickTime, an email, or a phone call while we're both watching. Timecode plus a short description of the intent ("VO buried at 00:34, want it forward of the music") is the fastest path. Notes are addressed as a pass, a new Approval Mix goes out, and we repeat until it's right. You always talk to the mixer, not a coordinator relaying notes secondhand.
Expected Turnaround
Short-form work — trailers, promos, commercials, cinematics — is commonly completed in 24 to 48 hours depending on scope and availability. Same-day is sometimes possible with advance notice. Long-form and episodic schedules are quoted per project against your air or delivery date, with milestone dates agreed before we start.
Time-Zone Flexibility
We're on Pacific time and work with producers on Eastern, Central and Mountain schedules every week. An East Coast morning deadline is handled the evening before; a West Coast end-of-day note gets turned overnight when needed. Tell us the clock you're working against and we'll schedule the pass around it.
Masters, Stems and Deliverables
On approval you receive industry-standard print masters plus derivative stems — dialogue, music, effects, and any splits your delivery requires — as 24-bit / 48k WAV unless you specify otherwise. M&E, alternate lengths, textless or platform-specific versions can be prepared in the same pass if they're listed in the spec.
Short-Form vs. Long-Form Workflow
Short-form runs as a single concentrated pass: turnover in, mix, approval mix out, notes, final. It's fast because the whole project fits in one sitting. Long-form and episodic run in stages — dialogue and cleanup pass, music and effects balance, full playback pass, notes, then final masters and stems per episode or reel — with checkpoints so nobody is surprised at the end.
Project Confidentiality
Unreleased material is treated as unreleased. Review links are passcode protected and expire, media is not posted publicly, and nothing appears in our portfolio without permission. NDAs are welcomed and signed as a matter of course.
Clients Across the Country
Remote work has covered network and streaming promo campaigns, national commercial spots, game trailers and cinematics for major publishers, documentary and episodic mixes, and theatrical trailer campaigns — for teams in New York, Chicago, Atlanta, Austin, Seattle and beyond. Explore re-recording and mixing work.
Request a Remote Mixing Estimate
Tell us the project type, approximate runtime, required mix format and deadline. You'll get availability and a clear estimate back promptly.