Something that saves time for me is that I bought a laminated 'frequency chart' from the web, and it shows the frequency ranges of a bunch of different instruments.
 
I use that to quickly know where to look for competing frequencies to thin things out.
 
Further, looking at the chart helped me arrange instrument parts better, because I could tell from the chart where things like piano and bass would compete - my piano parts are now way more sparse in the lower registers.
 
Steely Dan did a great job of using mid-range 3 and 4 note keyboard chords, and it really helps all of the instrument parts stand out.  Genesis also did a great job of keeping the parts from competing - even if you don't like the song, listen to the spacing on ABACAB.
 
Anyways, all of the above is really quite fascinating to get into, and learning about it will likely help you cut down on time spent in the mixing process.
 
There's a funny picture I saw of a skeleton at a mixing console, with the caption something like "Almost got it".  Point being is you could tinker for the rest of your life on one song, and never finish anything, or you could spend the time up front to write and record good parts, and make the mix an easier process, and finish things that you start.  The Kinks recorded You Really Got Me for something like $500.  Don't over think it - do it well, but do it efficiently in the process, and finish.
 
Anyways - just some thoughts.
 
Bob Bone
 

Really great and interesting feedback, everyone. 
 
So where would piano and a bass guitar or synth bass usually compete?  And do kick drums typically compete with either of those as well?  These might be oversimplified questions but I'm just curious.
 
Love the thing about the skeleton at the mixing console. . . that's so great.  If you know a link to that picture let me know. . . I'll hang it in my studio for sure! (my studio being an amateur setup of a keyboard, computer, microphone, and monitor speakers in a big empty room without any acoustic padding or mixing equipment of course).

One additional note to consider is I'm guilty of "octave bass" where I play my right hand in the mid to high range of the piano and then play octaves in the bass notes. . . it probably wreaks havoc on my mixes because it fills them with low-mid and bass notes!!!

rlared
One additional note to consider is I'm guilty of "octave bass" where I play my right hand in the mid to high range of the piano and then play octaves in the bass notes. . . it probably wreaks havoc on my mixes because it fills them with low-mid and bass notes!!!

Nothing wrong with octaves on Piano if the song calls for it and the part fits the rest of the arrangement. Just bear in mind what the Bass guitar is doing. Any other intervals can sound messy down there if not applied correctly. If you are concerned with the right hand playing too low, consider inverting the chord. Follow Jeffs advice on filters and you wont have a problem. 
 
Go here to see a frequency chart that will aid you in knowing where all the different instruments lie.
 
http://www.independentrec...chart/main_display.htm
 
Bibs

Here is the link to the frequency chart I ordered to hang in front of my face:
 
http://www.independentrecording.net/irn/resources/freqchart/main_display.htm
 
If you search for terms: 'instrument frequency chart' in Google you will get a zillion results.
 
And here's a dropbox link for a couple of pictures - one is the skeleton at the mixing console, and I threw in another one someone made up from that famous picture of Lee Harvey Oswald getting shot in Dallas by Jack Ruby - he's really singing the blues on this one.  :)
 
https://www.dropbox.com/s...jF_EPK-Y2Svx798EQgYWya
 
Bob Bone
 
 
 
 
 

I often find that what I'm playing with my left hand matters as much if not more than where (range).   Having played piano and organ in a blues band for years, I've been able to use walking bass lines (and similar) without conflicting with the bass guitar by "simply" listening and adjusting to suit.   Sometimes I'll double the lines, sometimes I'll double them with variations, other times I'll comp with simple chords up a little higher instead.  I just try to play whatever sounds good to me, while taking the bassist's perspective into consideration - "why the @#$% is the keyboard always trying to steal my lines".