A day at the office
Let's look at a typical workflow
for the recording and mixing stage.
I like working in Cubase as it is my favourite digital audio workstation (DAW).
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My workflow is generally creating a mood first with either harmonies or interesting textures. If it's harmonies, I lay down a sparse piano to create the sense of breath.
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I also use synthesizers pad patches or electric guitars using the volume pedal / knob, going through amplifiers or direct injection unit (DI) with delays and reverbs.
I use the expression pedal to chop off the attack of the transients, and change the envelope to a more gentler attack that sounds like pads or string swells.
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One of these will be the first instrument to be recorded.
In the rare occasion that I start with a melody, I harmonize the melody afterwards.
I have settled for around 30 or so tracks per song, and find that a good compromise to achieve clarity, while remaining interesting sonically.
Every song is different but they follow this general blueprint: (unless drums are involved).
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1 main texture / harmony gives the song mood, context and structure.
I then look at the harmonisation in more detail by sharing the register with appropriate instrumentation. This could be:
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2 low cellos , playing the lower notes​
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1 mid cello, middle register
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1 or 2 more synths on the sides and mid register
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1 viola and 1 violin for the highest harmony notes ​
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1 or more pads
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The strings just carry 1 or maybe 2 notes each; the pads could be as many as needed.
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I like using a combination of real instrumentation and virtual studio technology (VST)'s.
Once I am happy with the harmony, I add solo guitars. They are generally the lead instrument in my songs, but not always.
After that, I might layer a few more guitar harmonies and textures. This is where I think about the arrangement and may readjust if required.
Then I'll make a good static mix.
The next step is to infuse as much space, depth and dimension as I can by using temporal effects, other signal chains and automation. At this point I try to give it as much post rock and cinematic thickness as I can without muddying the mix.
This can mean more layers and send effects, commonly both together.
I wouldn't say that I do "top down mixing" as I can still process each track before reaching the group channels.
That said, I do like working with group channels, so I can add a bit of character or cohesion.
I don't "mix in to compression". I sometimes add some effects on the master bus for some glue, but generally I don't worry too much about that in the mixing stage.
I leave that to the mastering stage where I raise the levels and give it its final tonal balance and character.
I leave all my tracks instrumental as I want the music to be the focal point.
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Here is a list of the instruments that I generally use:
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​Guitars:
Electric Guitars, from drones to gentle notes.
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Strings:
Cello, Viola, violin and electric strings, all adding either long gentle sustains or textures. I use these to reinforce and color the harmonies.
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Pads:
Synths and VST's, I use them for textures, moods or even structure if I am not using a piano to sketch out the harmony. ​​
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Piano:
This is often the main harmony instrument that I use to create the song, or I might use it as a sparse piano to create emotive lines.
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Drums:
Real acoustic and VST Drum kits. The groove of the song comes from here and the Bass.
​Bass:
I use a pitch shifter on electric guitar and synth Vst's, to create the basslines and grooves.
I often use other instruments too, this isn't an exhaustive list.
