Guides

How to Price Custom Slowed and Reverb Commissions (Tiers and Delivery)

2025-12-31 · Updated 2026-10-11

A pricing model for custom slowed + reverb edits based on complexity, turnaround, revisions and usage rights, with a tier table and an honest note on MP3 versus WAV delivery.

Someone has heard your edits and wants one of their own song. That is the moment most creators realise they have no idea what to charge. Too low and you are working for nothing; too high and the message goes unanswered. This guide gives you a pricing model rather than a price: the four things that should move the number, a tier structure you can adapt, and a clear account of what you can deliver from the free slowed reverb editor and where a DAW has to take over.

No market rates are quoted here. What a commission is worth depends on your reputation, the client's budget and the country you both live in, and any figure I printed would be wrong for most readers. Instead, the model works from a base price you set and multipliers for everything that adds work or value. For the broader picture of where channel income comes from, see how slowed and reverb channels make money.

Who commissions slowed edits

Knowing the client tells you how to price.

• Independent artists who want a slowed version of their own single to post alongside the original, or to release officially. They own the master, so there is no copyright problem. The official versions guide explains their side.
• Small labels and managers ordering versions for a whole EP. Volume work, where the bulk tool is your friend and a per-track discount is expected.
• Content creators who want a specific feel for a video and have a licensed or royalty-free track.
• Fans who want a version of a song they love. Be careful here: if they do not own the song, you are being paid to make a derivative work of someone else's recording. Many creators decline these or treat them as personal-use only with no rights transferred.

The four things that should move the price

1. Complexity

A standard slowed and reverb pass is quick: load, set speed and reverb, adjust bass and tone, export. Complexity rises when the client wants things the editor does not do, or wants many versions.

The editor exports MP3 at 96 kbps, 32 kHz. That is the honest ceiling for browser-only delivery and you should state it in your quote. Anything described as a master belongs in the DAW tier.

2. Turnaround

A standard edit can be turned around the same day. Clients who need it in hours should pay for the disruption; clients who can wait a week should get your standard rate. A simple structure is a rush multiplier for under 24 hours and no change for anything over 48 hours.

3. Revisions

Include a fixed number of revision rounds in the price, typically two. A revision is a change to settings on the same source file: a little less reverb, a touch more bass. A new source file, a new song or a change of concept is a new job. Say this in writing before you start, because the client who asks for the eighth tweak is never being malicious; they just did not know where the line was.

4. Usage rights

This is the multiplier most new creators forget, and the one that matters most.

• Personal use. The client listens to it, maybe posts it on their own social accounts. Base price.
• Commercial posting. The client uses it in monetised content, ads or promotion for their business. Higher.
• Release. The client distributes it on streaming platforms as an official version. Highest, and this almost always means a DAW master rather than an editor export.
• Credit. Whether you are named. A credit on a release has value to you; a client who wants no credit is buying anonymity and that is worth something too.

Rights only make sense when the client owns the song. You cannot grant rights to a recording that belongs to someone else.

A tier table built on multipliers

Set a base price B for a standard edit with two revisions, 48 hour turnaround, personal use, MP3 delivery. Then:

The multipliers are a structure, not market data. Adjust them to your situation and keep them written down so every quote is consistent.

Setting B: a reasonable starting point is what an hour of your time is worth to you, since a standard edit including communication and delivery takes roughly that long. Raise B as your portfolio grows and demand exceeds the hours you want to spend.

Quoting checklist

Before you send a number, you should know:

1. Does the client own the song, or have a licence covering derivative versions?
2. What is it for: personal, social, commercial or release?
3. What format do they need? MP3 for social, WAV for release.
4. How many versions?
5. When do they need it?
6. How many revisions do they expect?
7. Do they want a credit, and in what form?

Answer all seven and the tier picks itself. Send the quote with the tier name, what it includes, the number of revisions, the delivery format and the turnaround. Ask for part payment up front on anything above Basic.

Delivery: what the editor gives you and where the DAW takes over

Be plain with clients about this, because it is where disputes start.

From the browser editor you deliver MP3 at 96 kbps, 32 kHz. The export file is named name-remix.mp3. Rename it to something the client recognises, with the speed and preset in the name; the naming guide has patterns. This file is right for TikTok, Shorts, Reels and YouTube, all of which re-encode uploads. It is not a master.

From a DAW you deliver WAV at the source's sample rate and bit depth, level matched, with no clipping, plus an MP3 preview if the client wants one. This is what distributors want and what a Release tier promises. The online versus DAW comparison explains the difference in detail. A practical workflow is to find the settings fast in the browser editor, write them down, and then reproduce them in the DAW for the final render. The editor's speed, reverb mix, decay, bass shelf and tone shelf all have direct equivalents in any DAW.

Never describe a 96 kbps MP3 as a master, and never let a client assume it is one. If they ask for a master and you do not have a DAW workflow, say so and either learn one or refer them on.

Payment and paperwork

Keep it light but keep it written. A short message covering the tier, the price, the revisions, the format, the deadline and the rights transferred is enough for most jobs. For release work, add a line confirming the client owns the recording and is responsible for clearing it. Take payment through a service that gives both of you a record. For first-time clients, half up front and half on delivery is normal and nobody reasonable objects.

Growing the commission side

Your public edits are the portfolio. Keep posting them with a consistent sound, because that is what a client is buying when they hire you. Put a short line in your profile saying you take commissions for artists who own their music. Respond to every enquiry with the checklist above, even the ones you end up declining. Over time the clients who come back are artists releasing regularly, and those relationships are worth more than any single job.

Open the free editor: upload MP3, WAV, AAC, OGG or FLAC, adjust speed, reverb, bass, tone, width and space, then export MP3 or a ZIP of many tracks. Everything runs in your browser.