Every commission begins here. Fill in what you know and leave blank what you do not — a first brief is a starting point, not an exam. The studio reads every request personally and replies with a description of how we would approach the song, what we would need from you, and when it could be finished.
What happens after you send it
Your request reaches the studio and is read by the person who would write the song, not a queue or a bot. The first reply describes the option we think fits — an instrumental bed, a melody and arrangement, a vocal and lyric package, or a full custom song — along with a price and an earliest start date. If we think a lighter commission would serve you better, we will say so and recommend it even where it costs less. If the project is outside what we do well, we will tell you plainly and, where we can, point you toward someone who can help.
Before you write
You may want to read how a song gets made for the full path from brief to delivery, or the services page to see what each kind of commission includes. The questions page answers the practical doubts that arrive most often: timings, revisions, ownership, and what the delivered files contain. None of it is required reading, but it tends to make the first brief sharper.
Reaching the studio directly
If you would rather write in your own words than fill in a form, email works just as well. The studio also answers the telephone during California business hours, and a short call is often the fastest way to settle whether a project fits before either side invests time.
Deep Audio Level Studio
2201 Pacific Avenue, Suite 12
Santa Monica, CA 90405
Email: [email protected]
Telephone: +1 (310) 555-0147
One note on privacy: what you send here is used to answer your request and to prepare a quote, and nothing else. The privacy policy describes exactly what the studio holds and how long it keeps it.
How we read a brief
A brief arrives and is read in full before any reply is written. We look first for the purpose of the song, because everything else follows from it: the tempo, the key, the instruments and, where there are words, the tone of the lyric. We look next for the practical boundaries — the length, the deadline, any detail that must appear and any that must not. Only then do we decide which of the four commission shapes fits, and whether a lighter option would serve you better than a heavier one.
If a brief is thin, we do not guess. We reply with the two or three questions whose answers would change the song most, and we ask them in plain language. Clients sometimes worry that a short brief will produce a generic song; in practice a short honest brief produces a better reply than a long vague one, because it tells us what actually matters rather than burying it.
Office hours and response times
The studio answers requests from Monday to Friday during California business hours, and a first reply usually arrives within two working days. A commission that is already agreed moves faster: stage shares are sent as they are finished, and the next reply from your side is what releases the stage after it. Deadlines are confirmed in writing before work begins, and a project that needs to be finished sooner than the standard schedule allows is quoted as a priority commission.
What we will never do
We will not take on a commission we cannot finish to the standard we would want for our own music, and we will not quote a price we then quietly exceed. If a brief calls for a genre or a scale outside the studio's strengths, the reply will say so and, where we can, name someone better placed to help. Turning down work is part of keeping the studio's word.