Mixing Violet Mary

Tonight, I head back into the studio to finish mixing Violet Mary's first record, Marionette. No matter how many records I mix at The Whale (my studio), it never gets old. I still get a real pit in my stomach when, after hours of listening to the same song over and over, I think i've got the mix seated. Generally, I try and push my abilities with each mix... depending on what the previous mix's strengths and weaknesses were.

The last full record I mixed was a project for CrossCreek Community Church. Their mix was very dense, often with all 24 tracks full, and some tracks with multiple parts tracked on it (ie. backup vocals and accessory percussion on the same track). For the mix, my goal was to build a clean mix, one that allowed space for each instrument to breath. I also played a lot more with depth by applying reverb when mixing. The finished project was very clean, if not too clean. The tracks mixed a bit clinically.

With the Violet Mary record, my goal is to build a mix that has emotional content and punch. I'm almost ok with things being less clear if the mix has power to it. I also decided to employ two new micing techniques when tracking that have added to the power factor: The Glyn Johns technique for overhead drum micing and distance micing on guitar amps. More on both of those later.

For now, here's a sample of Trigger Happy, track 5 from Marionette.    

Peace,

m.