Red Light Off, Now to the Mix
As of the holidays we have completed principal recording for Undercover. Recording a whopping 18 songs in just over a year is pretty decent for a bunch of people with full-time jobs. This does fall short of the 20 song goal I had set, though. Two tracks were sketched out but never got fully launched and I just ran out of steam and drive to replace them. You reach a point, too, where you can slog through two more tracks or you can start shaping and tweaking what you’ve got. We all collectively decided its time to do the latter. So apart from pick-ups and tweaks, Laura and Scott are done.
Which leaves me as designated driver at our studio get togethers, as my work has just started.
But mixing? I love it. It’s probably my favorite part of the process. I liken it to sculpting more than any other activity. You take a stone, rough it out, then slowly use your tools to shape it into art. Same with a mix. It has somewhat of an iterative process to it — you tweak the mixes, burn them to a disc, throw it in your car for a few days. Between driving to work and the house to let the dogs out you get plenty of “Oh, that doesn’t sound right” moments. Take this, tweak the mixes, lather, rinse, repeat.
One step I will be glad to be handing off for Undercover is mastering… Yes, thanks to all the kickstarter love, I will not be in charge of the mystical incantations and pixie dust portion of our album. No, that I will be leaving that to Brian Hazard of Resonance Mastering. We’ve bumped into Brian’s work all throughout our existence as a band and are excited to finally have the cash to splurge on his mystic powers of squishing sound. Expect Undercover to sound really effing good.
With that I’ll bring this to a close. The Heat soundtrack just popped up on my iPod, so I’m going to go cry and wish it was summer. Then I’ll go mix some tracks.