All of this (in some order that I don't have time to sort)

• dress up the breaks
• make sure to check things flowing out
• cut the toms
• MOST IMPORTANT = power editing of harmonies. laying back vocals. line em up!
• when organizing tracks in the mix window, i want my tracks that share lines together (harmonies and whatnot) to be close so that I can edit them stacked up
• balance the kick and bass
• phase align the drumset
• vocal everything
• do the work to get all the faders set to equal loudness... this really takes a lot of the work out of the tracks (pavroue)
• make sure to ride faders
• make sure high low freq balance is good
• singer should shine like a star in the middle (literally)
• Tom fades end at the next crash/ downbeat (do the fade there)
• timing
• Mixing is editing... fixing issues... aligning faders so the song can function as intended, AND THEN you reach for eq and other things to make it pop. The first step is to pocket the song and make it flow without much help from any tool.
• Every instrument has two bits of info — tone + feeling (the thing that helps you feel the instrument when band is a chordplaying)
• theres pocket between drum and bass
• pocket between nonbass and bass
• pocket within nonbass
• pocket within anything sharing a line (harmony)
• pocket is everywhere (tuning) (finesse)
• I found a recording error: there was clipping at 1000hz in the vocals... it is audible when mastered... lame. im glad i found this
• everything aligned
• set pro tools to rectified power
• pay attention to the bussing... make sure everything is going where you want it. I made a mistake bussing toms (with low information) to the mono bass track i made... toms were in mono until i went straight to the 2bus
• accoutn for EVERY LICK
• account for every BLEND
• account for every HARMONY
• every part recorded has a purpose
• is it lead? is it foundation? is it middle? is it washy (to be felt)
• Mixing is a puzzle that isn't solved solely at the computer. you have to walk away and gain perspective and workout the song in your head.
• look for all the sections where all the notes blend together. the harmony is key. mixing is just looping the harmonic sections and making them vfit really nice. then you mix vocals and pocket that. pocket everything.
• instruments that share lines together must blend together as a "unit" in the mix
• everything must have a place
• used subtractive eq everywhere
• used eq to highlight stuff
• things have to pop
• things have to shine
• Ford trick of nudging the vocal back to lay
• a great song has an arrangment that 'passes the ball well' where the lines blend between the guitar snad the organ for example... where there is the chord being played at the moment and each musician is on a certain part, highlighting a certain part of the chord
• no dull sounds
• nothing wooly
• nothing hollow
• nothing phasey
• not too much of anything
• the natural sounds are everything
• the control going to tape
• the detail in the mic placement
• the band itself
• pair the vocal harmony (the one that follows the lead) EXACTLY to the lead (do the edit work)
• THe problem with moonlight was a really boomy vocal
• Always look for the problems before committing to the mix
• the snappiness is in the hands in the music
• the arrangement and the things that 'light up' are controlled by the writers
• its all about attention grabbing sounds
• a blend
• a focus
• all the instruments doing their thing togehter
• finding that 'tune' between the kick and bass, then bass+kick to everything else
• finding that 'tune' between all the rhythm non-bass instruments
• "pocket"
• carve out the toms...
• is it swung? is it straight? this matters
• all things release and attack on a a grid
• everything grid
• accents
• highlights
• flow
• find and loop that one spot where everything is supposed to be clicking at once... in the case of this 4400practicemix its the last bar before the guitar solo where the kick is playing 8th notes and the bass is walking and everything is moving at once. My belief in a mix is that if you can make this moment sound good, then the rest of the song will work out. In other parts of the song I will be looking for other elements to balance. But in this case, I am looking for a section where all elements are present at once, especially a busy bass section
• energy
• that deep note within the chord
• resonance
• hi freq excitement
• telling a story over time
• each instrument is a character; each sound, their lines
• cant 'take a blurry photo' and try to make it clear
• this session has problems in the kick drum (sounds weak)
• make sure it hits -8 at the peak
• remember the limits of digital and what is possible (what I hear in my head, in my system, is possible... but I am limited to my room and system and, therefore must accept that the 'small sounds' are huge when played on a bigger system). the approach I have and then making -8 the goal always 'boxes' the mix in the right way that I need it to in order to convey all the information
• I would love to have a room with true bass alignment... my mixes will be perfect
• every instrument has a function
• GOING TO THE ACTUAL NOTE WITH THE EQ (ROOT NOTE), DOWNBEAT, whatever...
• I won't mix pro tracks for less than $750 a song -- at the min do sound replace, vocalign, note adjust -- minor fixes. the songs have to bang on their own and be produced well. I just want to lift faders and cut stuff (freqs)



Mix 2 4400 advance practice
• all tracks labeled
• All memory points properly labeled
• All tracks sorted
• All gains staged (pavroue) with the WLM meter hitting a target (-20db) (all tracks)
• cut toms
• Listening for weak tracks — bass, electric gt, vocal, arp, steel
• Do bus routing (low, non lo, vocals, effects, etc.)
• the flow I enjoy is everything above, then working drum kit, then locking kick and bass, then adding element by element to an already solid foundation in the mix
• Always keep focus on who carries the melody(leads, etc)
• Find the loops that lock in the track (it’s certain hits in unison)
• Harmonically I am trying to lock in certain sounds by the frequencies… The ideas that with the kick drum I am trying to lock it into that the Bass continues to what it’s doing at the cake level… This is what I would do with highs in with other things as well until I have a whole mix blend it in as a solid harmonic unit
• Really important to find that one section in the song that can loop infinitely and that everything comes together
• Right now I am looping a section where all the instruments are literally playing at the same time and what I am doing is meeting some tracks to see if they even are present when all the sounds are playing at the same time then I’m adjusting to get it above the fog is finally I’m going to EQ to make sure that I don’t need as much voltage to make that sound pop out
• Remember all hits and accents need to be accounted for… This is the same emphasis has every lick needs to be heard… The same emphasis is every vocal line needs to be present