Mind Machine

Jesse Screed
Hello Dan, I very much like the piece, but I wonder if you could answer a question or two.  I would like to learn a few things about that so maybe it would help me be a better song writer.

 
Thanks for listening! Glad you enjoyed the piece!
 

Jesse Screed
How would you describe your workflow?

 
It depends on the song, but usually it starts with some foundational element that defines the project. In this case, it was the opening organ, xylophone and drums. Over the 15 years, I would periodically open the project. Mostly, little changed, though the drums changed quite a bit. It is like painting with sound; I just add layers and blend stuff together until I like what I hear. Once I am happy with a section, I move on to the next section. I tend to fully develop sections as I go as I find that this gives me better direction and flow. It is the rare song where I know what the whole song structure will be at the start.
 

Jesse Screed
Do you do much cut and pasting of parts?

 
It depends on the part. In this song, the arpeggiated synth line and a couple of the string arpeggios were good candidates for reusing a phrase. I will sometimes lay out copies just to get a feel for timing of a section, then modify each clip by hand to change things up. For melodies, drums, and bass, I always record each phrase.
 

Jesse Screed
Do you know what sound your looking for before you load it into a synth, or do you search through presets and then tweak as you go?

 
In the beginning, I don't usually know what sounds I will use. The further along the project gets, then I do know what is missing. I'm looking for sounds that either complement each other or that will fatten a part by layering another sound.
 

Jesse Screed
How many aux sends do you generally use per track?

 
Read Mike Senior's book: "Mixing Secrets for the Small Studio" Best thing I edver read and really helped me learn a lot about mixing. I usually use a short reverb just for the drum room. Them another, long reverb for things like strings, horn, and so on. However, knowing which reverb is the trick because "Orchestral Hall" is generally not what I would use for an orchestra. Lead instruments usually have their own reverb/delays. Use delay where possible, reverb only as needed.
 

Jesse Screed
Do you do any major tweaking of the eq after tracking or do you just have an acute sense of what will work where?

 
Almost every track gets EQ'd, and usually compressed as well. I like the Waves SSL Channel strip and use that on most tracks except things like synth pads that may only need very specific EQ. On those, I will use FabFilter Pro Q2, but any surgical EQ will do. For strings, I like the Waves TG12345 channel. I generally like EQing tracks with these strips because there is no EQ plot. You must listen. And practice. If I get it wrong, I just reset the strip and start over.
 

Jesse Screed
How many different reverbs might you use, and which ones, to accomplish the depth that you achieve?

 
At a minimum, two on busses; one short, one long.
 

Jesse Screed
I could go on, but that is probably to many questions already.
 
Nice work, thanks in advance.
 
Jesse Q. Screed

You're welcome!
 
Regards,
Dan