While a student in American University’s audio technology program, I had the pleasure of engineering and mixing songs in the school’s brand-new Kreeger Studios. Here are samples of my recording work by three artists: the Del-Rays (“Pipeline”), Yeveto (“Paper Scissors”), and Doc Scantlin’s Imperial Palms Orchestra (“Just One Kiss”). On “Pipeline” and “Paper Scissors,” I was a post-recording mixer; on “Just One Kiss,” I was an assistant engineer, console operator, and mixer.
For “Pipeline,” I wanted a mix as aggressively fun as its sixties ancestors, but which would take advantage of its modern recording style and not lean on kitschy, faux-analog effects. “Just One Kiss,” which harkens back to the twenties, avoids similar trappings by looking to vocal jazz mixes from the fifties — as if the band were recording in cavernous studios in the Hollywood Hills. But to avoid being steeped in nostalgia, I mixed “Paper Scissors” without any historical model. Instead, I looked at how the guitars and cellos move together, and used the room tracks (with subtle effects) to highlight their similarities and widen the song’s immersive atmosphere.