There are some technicalities to mixing– many, probably– such as rolling of the kick and bass below 50Hz, but I think a lot of it is a matter of taste. A friend tells me he aims for a smooth mix, as if he’s planing a piece of wood to make furniture. Picking up on competing frequencies is the first thing I try to do. Optimally, each instrument should be distinct, adding its unique qualities to the overall song. Much of this is accomplished by moving the levels. How the frequency range is divvied up is somewhat mysterious, although I’ve learned the value of parametric and regular band EQ-ing. Some of the instruments in Strange Trains are actually samples tweaked out by the para EQ.

Mixing also forces you to look at details that might go overlooked, such as panning. I have the kick and the bass dead on center; the snare is 7 to the left, and the hats are 10 to the left. I’m imagining how a drum kit would be played, even though, I suppose, the drum could flatten out in the master. It’s still a starting point– and it seems to work well.

So I should be able to mix the three tunes down this weekend. The fourth one, Fits and Starts, is waiting for some attention. The song actually gets its name from waiting! F&S may end up being kicked onto next year’s release, because I’m already a little behind the schedule I invented.

As much as I want to record songs, and have them listened to and dug, I’ve always thought that making a process is the equal goal. In my busy life, I’d like to be able to get musical ideas into the computer as fast and easily as possible. I’m not even worrying about the new songs at this point (I do have a great melody for one though!) I think it was the jazz bassist Steve Swallow who said, “I’m dedicated to my fragments.” That’s how I feel. Get a whole bunch of motifs and then see how they fit together, like refrigerator magnet poetry.