Mixing multiple projects at the same time

[meloco_go]

In this day and age of instant recalls, mixing over the Internet and multiple revisions it is not uncommon to jump between projects.
This is certainly not new to me, too.
Though to have to start mixing two big projects at once is not something that had happened to me too often. Usually, I am working on revisions for one projects and start another.
This makes me a bit worried -- would projects influence each other too much? How do I share the workload? I communicated with the bands, and they are ok with that, and we worked before, but still...
I guess I'd figure something out, but maybe someone already dealt with situations like this and has some tips.

[nobby]

Though to have to start mixing two big projects at once is not something that had happened to me too often. Usually, I am working on revisions for one projects and start another.
This makes me a bit worried -- would projects influence each other too much? [/quote
How do I share the workload? I communicated with the bands, and they are ok with that, and we worked before, but still...
I guess I'd figure something out, but maybe someone already dealt with situations like this and has some tips.

I haven't but if you could be be a little more specific maybe someone else can help you.

would projects influence each other too much?

So if one project is a band of 20-something year olds in a metal band and the other is a Lawrence Welk tribute band and the band members are in their mid 80s, are you afraid that you will walk into the metal session with a clarinet and tell them they've got to try this? If that isn't the problem, you should try to refine the question

How do I share the workload?

With whom? It sounds like you aren't and that's the problem, if there is one. For all I know, this whole topic could really just be about you bragging about how busy you are, which is perfectly cool in my book.

I'm guessing you'll pull this off and do a great job on both projects.

Applicable idioms:

Strike while the iron is hot

Make hay while the sun shines

Feast or famine

When it rains, it pours

[weedywet]

it's definitely more difficult to ounce between two similar bands, and still give each their due, than between two wildly divergent projects.

[nobby]

I don't understand, unless he's also producing, which he hasn't specified but which I suspect.

[meloco_go]

Thank you, nobby and weedywet for comments!

So if one project is a band of 20-something year olds in a metal band and the other is a Lawrence Welk tribute band and the band members are in their mid 80s, are you afraid that you will walk into the metal session with a clarinet and tell them they've got to try this?

Yes, while it may be absurd, and of course I won't try to distort clarinet, but if I listen to something for a long time, it starts to sound "right" and I need some time to refresh my hearing. I have learned I need to take breaks every hour or so when working on something for this very reason. In the context of mixing two projects in parallel, I was afraid I will have an urge to tweak the other project after working on the previous one for too long.

How do I share the workload?

With whom? It sounds like you aren't and that's the problem, if there is one. For all I know, this whole topic could really just be about you bragging about how busy you are, which is perfectly cool in my book.

I meant between you too. No, I am not bragging. I had a situation like that before and I don't remember exactly, but one of the bands dropped my mix... Not the end of the world, but not perfect either.

I'm guessing you'll pull this off and do a great job on both projects.

Thank you!

it's definitely more difficult to ounce between two similar bands, and still give each their due, than between two wildly divergent projects.

Yes, this was my concern. The bands are not too similar but in the same vein nonetheless.

I don't understand, unless he's also producing, which he hasn't specified but which I suspect.

I am not producing, but there are some things I have to do in the mix that, I would say, are crossing the borders. E.g. the bands didn't provide their own drum samples, and the style dictates I need to make upfront drums. So do I intentionally forbid myself from using the same samples on both, or do I choose simply what sounds best to me ATM, even if it's the same sounds? That sorta stuff...

[nobby]

Yes, while it may be absurd, and of course I won't try to distort clarinet, but if I listen to something for a long time, it starts to sound "right" and I need some time to refresh my hearing. I have learned I need to take breaks every hour or so when working on something for this very reason. In the context of mixing two projects in parallel, I was afraid I will have an urge to tweak the other project after working on the previous one for too long.

Not surprisingly, that's outside of the realm of my experience. I'll be working on different tracks earmarked for the same album.

So if I will have an urge to tweak the other track after working on the previous track, I'll indulge that urge, especially because at my level of experience I probably stumbled across something on one that would improve the other.

The problem I encounter is that when working on a particular song too long it turns into wallpaper from over-familiarity. Then I need to stop, maybe go for a walk, listen to some different music by different artists to 'hit reset'.

How do I share the workload?

With whom? It sounds like you aren't and that's the problem, if there is one. For all I know, this whole topic could really just be about you bragging about how busy you are, which is perfectly cool in my book.

I meant between you too.

Trust me, you don't want my "help"

I am not producing, but there are some things I have to do in the mix that, I would say, are crossing the borders.

I guess this is kind of typical for bands that don't have big budgets to work with. No designated producer; the band members do what they can to get the sound they're after and the engineer fills in the gaps.

That doesn't happen exclusively with low budgets, but most of the nuts and bolts of it would be tightened up by a designated producer and the engineer's job would be principally to take directions.

E.g. the bands didn't provide their own drum samples, and the style dictates I need to make upfront drums. So do I intentionally forbid myself from using the same samples on both, or do I choose simply what sounds best to me ATM, even if it's the same sounds? That sorta stuff...

Bear in mind that any advice you get from me could be bad advice but with that caveat, I think you have enough experience to go with your instincts.

Just my opinion, but as someone who is mainly a musician and songwriter I didn't do the world's best capture of drums despite knowing in general how and trying hard.

The toms needed sample reinforcement. Like countless other people, I used Slate Trigger 2 and like countless other people I used the samples that came with it. I don't have any problem with that whatsoever.

IMO If you are a musician and/or songwriter/ arranger/ producer/ engineer/ whatever, and using the same toms samples as someone else actually creates any kind of problem for you, you are in deep, deep shit. Have you considered a career in accounting? Oh, you already have one? Never mind then

[meloco_go]

Trust me, you don't want my "help"

Whoa, I have no idea what I was trying to say there
Probably edited something out and that's what I was left with

I guess this is kind of typical for bands that don't have big budgets to work with. No designated producer; the band members do what they can to get the sound they're after and the engineer fills in the gaps.

That doesn't happen exclusively with low budgets, but most of the nuts and bolts of it would be tightened up by a designated producer and the engineer's job would be principally to take directions.

Yes, luckily we band worked with me before, so I was given a bit of trust, so we are working together to find the best sound possible.

[nobby]

The best sound possible.
I think you can overthink this. Let's take the example you've given.

So do I intentionally forbid myself from using the same samples on both, or do I choose simply what sounds best to me ATM, even if it's the same sounds?

If you find samples that work better on both projects, I think you should use them on both.

I'm better suited to offer the perspective of the person hiring the engineer's services than the engineer. I don't know the exact situation exactly, but this is how I would see it, generally:

Without counting, more than half the records I listen to on any regular basis were made in the 20th century.
Many were made in the same live rooms, sometimes the same engineers. Same echo chambers, EMT plates.
Did anyone care? It was considered the artist(s) job not to sound like a carbon copy of other artists, unlerss that's what they were going for, which IMO is mainly for tribute bands which are mostly theater.
I'm sure Cyndi wasn't afraid of sounding like Zappa despite recording at the same studio

But at the lower budget levels, any time you don't spend chasing your tail or reinventing the wheel is time you can spend recording.

Before digital plugins, you'd go to a studio and the drums at this budget level would be already set up. The engineer(s) spent a wehile finding the best place in the room for them. The heads look in good shape, maybe tune them slightly, now you're where the previous drummer had it at the beginning of his session.

I see that microphones are set up for the piano. I ask the engineer if he got there early to set up the mikes -- he says, no, he had just recorded a band and since he knew I was recording piano, he left them up to save time.

Cool, thanks.

[weedywet]

I’m not aware of Zappa at RPS NY.
But Cyndi accused me of using “her” drum
sounds on the Clarence Clemons record I was making at the same time as her first record.
In truth, I didn’t share much in the concepts between how I approached the two, but they’re both my taste and in the same room so there are bound to be some aspects that are shared in common.

[nobby]

I’m not aware of Zappa at RPS NY.
But Cyndi accused me of using “her” drum
sounds on the Clarence Clemons record I was making at the same time as her first record.
In truth, I didn’t share much in the concepts between how I approached the two, but they’re both my taste and in the same room so there are bound to be some aspects that are shared in common.

That's why Cyndi started coloring her hair pink -- so that people wouldn't think she was Clarence Cl... WHAT?

I guess she was still a bit insecure at that stage of her career. Seems like a tempest in a teapot in retrospect?

[unitymusic]

Yes, while it may be absurd, and of course I won't try to distort clarinet, but if I listen to something for a long time, it starts to sound "right" and I need some time to refresh my hearing. I have learned I need to take breaks every hour or so when working on something for this very reason. In the context of mixing two projects in parallel, I was afraid I will have an urge to tweak the other project after working on the previous one for too long.

I think I get what you're trying to say, but at the same time, if something sounds 'right' after repeated listening's, then maybe it is "right"?

[meloco_go]

Yes, while it may be absurd, and of course I won't try to distort clarinet, but if I listen to something for a long time, it starts to sound "right" and I need some time to refresh my hearing. I have learned I need to take breaks every hour or so when working on something for this very reason. In the context of mixing two projects in parallel, I was afraid I will have an urge to tweak the other project after working on the previous one for too long.

I think I get what you're trying to say, but at the same time, if something sounds 'right' after repeated listening's, then maybe it is "right"?

Unfortunately, I find that is not necessarily the case with me. I very quickly get used to sounds. Often times if the band believes in me, and keep pushing for changes, we may completely reinvent the mix, and to me most of the times it's for the best.

[unitymusic]

Yes, while it may be absurd, and of course I won't try to distort clarinet, but if I listen to something for a long time, it starts to sound "right" and I need some time to refresh my hearing. I have learned I need to take breaks every hour or so when working on something for this very reason. In the context of mixing two projects in parallel, I was afraid I will have an urge to tweak the other project after working on the previous one for too long.

I think I get what you're trying to say, but at the same time, if something sounds 'right' after repeated listening's, then maybe it is "right"?

Unfortunately, I find that is not necessarily the case with me. I very quickly get used to sounds. Often times if the band believes in me, and keep pushing for changes, we may completely reinvent the mix, and to me most of the times it's for the best.

I get that too - if you get stuck, sometimes it's best to get an outside perspective from someone you trust, but not connected to the project. Otherwise you should trust yourself IMO.

[unitymusic]

But I'll also add: if a band has a production vision that can lead you to a better mix, then by all means let them do it. You just need to know if/when you will have to translate 'their terms' into actual mix decisions.

[meloco_go]

But I'll also add: if a band has a production vision that can lead you to a better mix, then by all means let them do it. You just need to know if/when you will have to translate 'their terms' into actual mix decisions.

Yes, the tricky part.

I'm well underway on one project and it seems to proceed nicely, but with the other one, it's a bit harder.
There were actually recording delays on one of the projects, so it's not as tight time-wise as I was expecting.