<li><strong>General Points About My Mixing Approach:</strong> I recorded two completely different mic rigs for this session: a dominant-array-plus-spots setup and a peer-arrays setup, with additional room mics serving both rigs. (For more information about my usage of the terms 'dominant array' and 'peer array', see Chapters 9 &amp; 10 of <i><a href="[[~370]]">Recording Secrets For The Small Studio</a></i>.) At the outset of mixing this album project, I did alternative rough mixes of one song showcasing the sounds of the two mic setups so the band could decide what they liked best. They preferred the ambient naturalness of the dominant-array setup, but the timbre of the individual instruments in the peer-array setup, so my mixes ended up being something of a combination of both approaches. In other words, I used the dominant array as the basis of the sound, but substituted the peer-array close mics in place of the original spot mics. This caused no practical problem with the sax mic, because it had very little spill, but sax spill on the bass mic caused the sax's combined room sound to be a little right-heavy. To remedy that, I reversed the panning of the room mics and also mixed in a little more sax ambience on the left-hand side using the overhead mic (which I'd left set up after the recordings the band did with percussion on the previous day). I also ended up using a little of the bass spot mic in the mix just to provide a bit more midifrequency definition, especially where softly played higher-register bass notes needed to be brought up in the balance.<br><br></li>