Robb Sadler MozzCat Services
I help artists, songwriters, churches, filmmakers, podcasters, and other creators turn recordings, stems, demos, and musical ideas into finished mixes, masters, edits, and production-ready music.
Music Production & Audio Services
I mix, master, edit, and prepare music with careful listening, clear communication, and practical technical judgment. When a song is still taking shape, I can also help develop its arrangement, instrumentation, orchestration, and final production.
I shape balance, clarity, depth, vocal placement, tone, dynamics, stereo image, impact, and translation across playback systems.
Organized WAV stems make scope more predictable. Individual tracks or session exports can work, but editing, tuning, cleanup, and organization may need separate evaluation. Listening first is the best way to quote responsibly.
Processing can improve difficult material, but not every poor recording can be fully repaired.
Discuss MixingMastering normally begins with your completed stereo WAV mix. I review tonal balance, dynamics, loudness, translation, sequencing where applicable, and the final delivery format.
If I hear a problem that belongs in the mix, I will explain what I hear and ask for an updated mix. If I use stems to correct it myself, that becomes mixing rather than straightforward mastering.
Discuss MasteringOriginal scoring, documentary or business-video underscore, editing and timing music to picture or presentations, alternate durations, smooth transitions, loops, video-ready files, and sound cues where appropriate.
I have created timed audio edits and synchronized sound cues for presentations and theatre. Existing licensable releases are available through Patreon when custom composition is unnecessary.
Discuss Music for VideoSupporting Services
Comping, cleanup, practical pitch and timing correction, effects, mixing supplied vocals, remote-recording guidance, and studio-session production when needed. Correction can improve a strong performance, but interpretation and phrasing need client involvement—and some parts are better re-recorded.
Editing, cleanup, leveling, practical noise reduction, final loudness preparation, intro/outro placement, and file preparation.
Loopable sections, clean transitions, alternate lengths, and intro or ending variants for video and other productions.
Instrumental, accompaniment, a cappella, reduced-instrumentation and short mixes, plus stems and video-ready versions. These may be included or priced separately depending on scope.
A custom engagement that may cover structure, key, tempo, arrangement, instrumentation, MIDI programming, orchestration, session planning, recording, vocal editing, mixing, mastering, stems, and alternate versions.
Musical Background
I began writing musical ideas and experimenting with tape recording in high school, studied Music Education for about two years, and played saxophone in college after earlier piano and clarinet/saxophone instruction. I moved professionally into software, but never stopped writing, performing, recording, producing, or mixing live sound.
I began multitrack recording in college and even wrote and recorded my wedding music with bass, guitars, a Moog synthesizer, effects, a TEAC four-track, and quarter-inch mixdown tape. Since then I have played in roughly six to eight bands and many worship teams on acoustic and electric guitar, bass, saxophone, keyboards, and occasional tin whistle.
My recording experience includes worship, folk, rock, spoken-word poetry, a multitracked onsite youth orchestra, and a cappella voice. I have assisted in professional studios on jazz, worship, pop, Irish folk, and rock projects, and written across worship, cinematic, orchestral, rock, pop, blues, ambient, electronic, singer-songwriter, documentary, and jazz-related styles.
I mix and master my own released work and projects for others. My growing catalog is released as Robb Sadler and Hyperspectral Music, commercially distributed, and registered with BMI.
Selected Projects
A songwriter brought songs written on scraps of paper. He sang melodies and hummed or described bass lines and other parts without formal notation or production vocabulary. I listened, identified the intended parts, helped formalize and document the arrangements, recorded several pieces, performed the music with him, and helped produce recordings that were distributed.
My daughter asked for original processional music for her wedding. I developed an opening theme for the wedding party, followed by a larger connected statement for the bride’s entrance. I composed, orchestrated, programmed, mixed, and mastered the strings, oboe, trumpet, French horn, harp, and piano arrangement.
A local musician sent me an already-tracked Christmas album spanning country, rock, and worship. I mixed and mastered the project, and the artist returned later for additional mixing and mastering work.
How I Work
My job is not to impose a generic sound. I listen for what you are trying to communicate and help the production support it.
Describe a feeling, reference, problem, or desired result in your own words. I can translate that into practical production decisions.
I listen closely for tonal imbalance, noise, performance issues, harshness, missing clarity, technical faults, and small problems that affect the whole result.
Editing and processing are useful tools, not substitutes for every performance or recording decision. I will give feedback when re-recording is the better choice.
Pricing & Revisions
Mixing or open-scope editing; fixed mixing quotes begin with a $40 consultation.
Straightforward mastering; 4+ songs on one project receive 15% off.
Studio production remains $40/hour for the first three hours and $30/hour after three hours on the same project. Full production and substantial editing, tuning, arrangement, restoration, preparation, or cleanup are evaluated individually.
Revision policy: Fixed-price projects normally include two revision rounds, each meaning one consolidated list of changes. Additional revisions may be billed hourly by agreement. Revisions refine the agreed work; a new creative direction or substantial production change may require a revised quote.
Starting Files
For mixing: Organized WAV stems or clearly labeled individual WAV tracks beginning at a consistent time, plus a rough mix and direction notes where available.
For mastering: Your final stereo WAV mix with practical headroom, reference notes or release context, and no lossy-only source unless unavoidable.
Use a client-controlled Google Drive, Dropbox, OneDrive, WeTransfer, or mutually acceptable shareable link. I do not accept large source-file uploads through this website.
Delivery & Retention
Standard audio delivery is 16-bit, 44.1 kHz WAV suitable for CD-quality audio. Depending on the engagement, optional delivery may include 24-bit WAV, MP3, FLAC, instrumental or accompaniment mixes, a cappella mixes, stems, loops, broadcast-ready files, or 48 kHz video-ready files.
Completed deliverables remain available for download for at least 60 days after final delivery. Working project files may be retained for up to 12 months as a courtesy. I do not provide permanent source storage; clients are responsible for downloading and maintaining their own complete archive.
Production Environment
Reason, Cakewalk Sonar, and DaVinci Resolve for music-to-picture and sync work.
EastWest Opus, Native Instruments, Spitfire libraries, guitars, bass, keyboards, and saxophone.
iZotope and related tools, pitch-correction tools, and an M-Audio 8-in/8-out interface.
Aria Pro II electric, Saga custom bass, Lowden acoustic, AT4050, SM57, and SM58.
Released Music
Explore commercially distributed, BMI-registered releases and follow the catalog as it grows.
Explore Robb Sadler and Hyperspectral Music
