Bass?
strange… I don’t think I have a bass part yet
I think it was in batch #1 with the drums
Yeah… what IS that voice doing on there?? 
And… quite a bit of hiss/noise on the ‘loop’ tracks I notice. Probbaly won’t be an issue in the mix…
Hi you blokes!
The “cowabunga” is my son Taylor’s delight at the first road testing
of his new set of AKG drum mics, using his (also new) Tibetan singing bowls.
We were testing the matched condenser OHs.
Doug’s mix sounds great (he reckons)…even without snare and bass! I’m stoked! 
The bass file was in the drums folder. It’s a clean file, so not sure what’s wrong
if its wobbly for anyone. I’ll be re-posting all the file batches later this week.
I’d pointed out in the thread header that the hats on the EP track simply need to be deleted at
that point, they are not actually “on” the EP itself. I’ve since sorted any little
bugs like that for the next release.
All the loops are of varying levels of lo-fi. Consider any noise as a free gift! 
Cheers!
So, should we be making a feature out of it in our mixes then?
Doug’s mix sounds great (he reckons)…even without snare and bass! I’m stoked! >
You know, when I click all the wee buttons that turn yellow when you click them - the ones with “M” inside - well, suddenly my mix sounds really good too 
All the loops are of varying levels of lo-fi. Consider any noise as a free gift! >
And similarly, consider my subsequent mix of your free gift as a free gift
I have no drums other than kick… it might be that by the time I saw this thread, the link had been taken down
Anybody that can dropload me the drum tracks will be appreciated!
Well, I enjoyed that! It was a real treat to have this entirely new palate of sounds to work with. And Jet, your Maton sounds delcious. Really well recorded I thought. I’m quite pleased with my mix and it certainly helps when the raw material itself is of a high standard, well played, well recorded - nice! Makes the job so much easier. It may be that you have already done tidy-ups and any necessary editing beforehand? Dunno, but that’s a process that I usually have to spend quite a lot of mix time on with my own stuff, but with this project it was great to get straight into the fun stuff 
Anyway, I’m gonna sit on the mix for a while before I submit it. You know how it is…a few days later, fresh ears and WTF was I thinking???
…Im doing the same thing…for the same reasons!
Should have a couple of messages, Doug (check inbox! )
Hi Doug (and anyone else interested):
I will be re-posting all the files reguarly over the remaining mix time
(i.e. until late May, the deadline for mix submissions remains the 25th).
So if you’re missing any files, you’ll have a chance to pick them up
soon, and I’ll start by re-posting all the bass and drum files tomorrow,
then the keys, guitars and vocals every other day or so. I’ll repeat that
for the next fortnight, so keep your eye out for them.
Jet
Hi Ian,
thanks for the comments.
It took me ten solid years of looking to find that Maton. Quite a few
come through Da Kong but despite their cosmetic appeal they have
been poorly released from the factory and not properly set up at all in the stores
here. Glad you liked it. It was recorded in my living room (you’ve sat in it, so you
know what it looks like) with a pair of AKG C4000Bs. Yairi too.
Yes, the files are already edited and trimmed, most also faded or smoothed
out in one way or another. THat’s how I work with every project, not just
this one. I also “mix as I record”, and maybe that’s what some are noticing.
Anyway, if mixing it is fun rather than a shitefight, I’m happy!
Cheers!
Jet
yes i`m enjoying this project ,like sherz says everything falls into place nicely, although the few suprises three quaters of the way through will be interesting to see every ones different angle on it ,anyway good song nice and laid back.
I was just about to post regarding this when here I see this post. Now that I have all the files loaded, I hit play without touching a knob and it sounds … perfect. Which got me to thinking… I took a closer look at the gain/trim of most of the tracks and noticed that, yes, as you confessed above, they’ve all already been adjusted so everything is just right with faders set to Unity.
Interesting method of working… and actually, quite correct, too. Most people track and then use the faders to set levels. But one of my first jobs was assisting an experienced engineer who left all faders at unity and then set input levels using the gain knob way at the back of the board – completely at odds with my schooling. When I asked my teacher at school about it, he said “That’s actually the right way to do it” which has remained with me ever since… even though I don’t practice it
In any case… I cry “FIX” – were you just playing a funny on us here? Because, really, this tune needs NOTHING in the way of mixing. The ONLY thing I had to do was raise the vocals some using the gain knob – the level of those 3 files was quite low.
I guess what I’m saying is that my mix is done 
Hi Doug,
what I meant in my comments above is that I choose parts and set
them in the mix on an on-going basis, and I do so at the time of
recording them, including all processiong and editing. I make mix
decisions right from the beginning. It’s not for everyone, because you need to commit to the
whole vision from the get-go, and there is no turning back if you
change your mind. So, for me, mixing is on-going, not an end process.
But once I’m done tracking, the song is more or less already mixed.
It’s just tweaking the minor level things and adjusting tiny EQ stuff
for different monitoring systems and environments.
However, I did not release the files
with the faders already adjusted to provide a mix. I exported
them all at 0 dB and straight out through the master bus.
You should still need to “mix” it.
I think we all mix as we go
But you don’t adjust/process your gain on each audio part, independent of the faders? It sure looks that way.
And like I said, technically it’s the best way to mix music, whether live or recorded
anyway… I AM done mixing this. Sounds great!
BTW – LOVE this line:
“When all is said and done
And ice consumes the sun”
Brilliant!
Hi Doug,
variations in file level are caused by adjustments I make to
the preamp on the way in or by carelessness, where I don’t
pay attention (enough) to the preamp LEDs or I realise only
later that I had keyboard or other instrument outputs too low or too high.
Or I’m just working too quickly. If the take was a keeper, I’ll maybe fix gain on the file.
However, all these tracks were compressed on the way in,
which is now my default approach. It never used to be until I tried
it last summer on You Can Still See The Stars. So, even if my
input levels are a bit inconsistent, the tracks are already evened out
in terms of dynamics (the Kush Audio Fatso I use has no compression
settings–apart from in and out—so I have no idea of the precise
ratio). And I’m tweaking those dials with every new part, and
often, again, not paying close enough attention to levels.
The vocal takes are low in level, but over the last year I have
found that so long as the file is not hissy, low preamp settings
are the way to go as my singing style is pretty rough when it comes
to sibilance and such problems. I see now that for years I have
been micing my voice with levels too hot.
These vocal takes were all done with a Sennheisser e935 dynamic,
so I also had to be careful not to dial in too much input. A tiny
bit of handling noise (that’s how I track vocals these days) but
I can capture a good “performance” that way I think.
I’m glad you liked at least one of the lyric couplets.
And happy you like the tune.
Nice of Sav to get the drum files to you!
I see… that’s essentially the same thing I was talking about, you just do it at input. Completely valid approach.