Mixing

I learned the value of mixing as soon as I was involved in my first recording experience; a record by Carole King for Lou Aldler’s Ode label in 1976. I played guitar, keyboards and sang backup in Carole’s recording and touring band for the second half of the ‘70s and well into the ‘80s, doing 6 records with her, 3 of them as co-producer. I also recorded two records for Capitol with my band Navarro during that time.

My mixing philosophy is this:
There is usually an initial intent for the record being made. Don’t lose sight of it in the mix. These days, my clients are often the artists themselves. To give them the record they think they want is a huge challenge, but with communication and with everyone doing what they do best, a great record can be brought to fruition.

Mixing is an both an art and a science. It, like so many other things, takes concentration and practice. Mixing involves an incredible amount of detail work before faders are even moved. I prefer to mix alone, sending drafts to the artists for their participation in the next draft. I have two mixing stations equipped with state of the art gear; one is at the Congress House Studio, the other at my home. By moving between these two places, I am able to achieve perspective and objectivity, two crucial ingredients for a good mix. Although I have had extensive experience as an artist and as a producer, mixing is my passion.

Some mixing clients:

Akina Adderley
Slaid Cleaves
Ani DiFranco
Davíd Garza and Juliana Hatfield
Charlie Faye
Dexter Freebish
Shawn Colvin
Eliza Gilkyson
The Gourds
Noëlle Hampton
Sara Hickman
The Mother Truckers
Betty Soo
Dale Watson
The Wheeler Brothers