Here's my entry:
[EDIT] Links working properly now[EDIT]
MP3:
https://mega.nz/#!1DZlRJKC!42Q_SHxPFwXD ... 3zBGlRrBjk
WAV:
https://mega.nz/#!xHomSbSb!cnhtyiMMPAW0 ... 8J06pQl8NY
My objectives were to achieve an aggressive, punchy metal mix, larger than life, keeping a hefty dose of low end and shiny top end.
I'd like to thank the provider for doing a great job giving us the tempo map, markers and well recorded guitars. I kept the files as they were, only replaced the kick and snare samples and added a distortion bass track.
Here's the dissection of the mix:
2Bus/Mix bus: The mix bus receives all the tracks routed, plus some processes in parallel, including a "rear bus" with an 1176 treating the guitars, piano and bass, a DBX-160 bus with the drums, and 2 compressors in parallel (SSL and Focusrite RED emulations, punchy and aggressive). On the bus itself, an API-2500 doing 0 GR, tape saturation and Abbey road Vinyl adding another layer of analog mojo.
Drums: Solved a couple resonances on the OHs. Used most of the "room" tracks (nice job there, Leo), and automated the "percussion" track (that has a gate triggered in side-chain by the snare) up in part maked "E", so it sounds like a proper shotgun to the jaw. No compression on the bus, only L2 limiter to catch the occasional peak. Kick and snare are compressed and clipped, though. I used Rbass (new, still trying it) to pump up the low end without muddying it, and I've got to say I'm impressed with the result. Not only made it more punchy and heavy, but also cleaned some mud and made it more translatable to smaller speakers.
Bass: Low passed the DI, Hi passed the Amp track. This way the low end is controlled and clean while the mids and high-mids have all the character of the amp. Printed a distorted copy of the AMP, wich gave it more body and helped taming the "clank" noises. EQ, saturation and compression (upwards and downwards), and a little widening.
Guitars: Kept the original recordings, great job there. Mostly EQ, a little compression and automation to keep the guitars consistent throughout the track . Also, some MB compression (actually, only compressing the 3k-5k frequencies, leaving enough attack to feel it without being overwhelming).
Piano: Some EQ, comp and distortion to let it compete with the rest of the instruments, a little reverb to give it dimension.