These are standing terms, published so there is nothing to discover halfway through a project. A signed agreement for a specific project prevails over anything here. Larger releases are usually contracted separately, and that contract governs.
What am I agreeing to?
| Point | Where it stands |
|---|---|
| Quote validity | 14 days from the date sent |
| Revisions | Included; rounds agreed per project |
| Approval | In writing — or by publishing, or by 7 days’ silence |
| First master not right | Full refund, project ends, no cost |
| Rights in your record | Stay entirely with you; no royalty claimed |
| Payment | In full before work begins, by SEPA transfer or Stripe |
| Invoicing | From Austria, net; reverse charge where it applies |
| Governing law | Austrian, unless a signed project agreement says otherwise |
File requirements live on the files and deliverables page.
1. Scope
Each project is agreed in writing before work begins: which tracks, which service — mixing, mastering, or both — which delivery formats, and by when. Anything outside that is new work and is quoted separately.
A track means one version of one song. A radio edit, clean version, extended version or instrumental is a separate track, because each is separately worked and separately delivered.
2. Quotes
Quotes are given in writing and are valid for fourteen days from the date they are sent, unless the quote says otherwise. Rates are agreed per project and do not set a precedent for later ones.
3. Materials and timing
The agreed timeline assumes the material arrives as specified in Files and deliverables and on the date agreed.
Late material, or material replaced after work has started, moves the delivery date — the reference the work was built against has changed. Every replaced file adds time. Best effort is always made to hold the original date, but it cannot be guaranteed once the input changes.
4. Revisions
Revision rounds are included in the agreed price. Two rounds per track are included unless the quote says otherwise.
A revision is a corrective adjustment within the creative direction already approved. The following are not revisions and constitute new work: new, additional or replacement source material; a change of creative direction, arrangement or song structure; and re-recorded performances.
5. Approval
Approval is given in writing — email or message is sufficient — by the client or by one named representative. Where several people are involved, one person must be named as the point of contact for feedback and approvals, and instructions from that person can be relied on.
Publishing or distributing a delivered master counts as approval of it. So does not responding within seven days of delivery. Either way, the work is treated as accepted.
6. Payment
Projects are paid in full before work begins. That is what makes the guarantee in clause 7 unconditional: if the first master is not the record you wanted, the fee is returned in full, and neither of us has to argue about what a part-payment covered.
Fees are quoted net, in euro, and invoiced from Austria under VAT identification number ATU79844867.
- A business in another EU country accounts for the VAT itself under the reverse-charge mechanism (Übergang der Steuerschuld, Art 196 VAT Directive). The invoice carries 0%.
- A client outside the EU is invoiced without Austrian VAT.
- An Austrian client, or a private individual in the EU, is invoiced with VAT added at the applicable rate.
Payment is by SEPA bank transfer or Stripe; the details are on the invoice. Card payments are charged in euro, so a card issuer outside the euro area will apply its own conversion rate. Bank charges levied by the payer’s own bank or by an intermediary bank are the payer’s.
Overdue payment may suspend work on remaining tracks until it is settled.
7. If it is not a fit
The first master shows whether we hear the record the same way. If it turns out we do not, you can walk away with a full refund — at no cost, and with no argument about it.
This applies to the first delivered master of a project, before further work is done on the rest. It exists because a mastering engineer whose judgement does not match yours is worth nothing to your record, and neither of us should be trapped in that.
8. Rights
You keep everything. Copyright in the composition and in the recording stays with whoever held it before the work. Nothing in the engineering creates a claim on your master, your publishing or your revenue, and no royalty or backend participation is asserted.
The delivered files are yours to release, license and exploit without restriction once the agreed fee is paid.
Credit is appreciated but not required, and its absence does not affect anything above.
9. Confidentiality
Unreleased material is treated as confidential. It is not played to third parties, not posted, and not used as a demonstration without permission.
Finished, publicly released work may be named as a credit — artist, title, role — unless you ask otherwise. Say so at any point and it comes off.
10. Liability
Work is performed to professional industry standards for the intended format. Personal taste, subjective preference and a change of creative direction are not defects.
Liability is limited to the fee paid for the affected work. Consequential losses — release delays, lost revenue, manufacturing costs — are not covered. Approving a master, including by publishing it, transfers responsibility for what is manufactured from it.
11. Governing law
Austrian law, unless a signed project agreement says otherwise. Anything unclear is best resolved by asking before it becomes a dispute.