Hi everyone, this is my first time competing here! Thanks to the forum moderator and the song provider for facilitating this!
https://drive.google.com/file/d/11Pb990 ... sp=sharing
Mixed ITB in Nuendo, all hardware references are to plugin emulations, mostly Plugin Alliance. All processing done with Nuendo channel strip except where noted. All eq is pre-compression
Kick: 24 db cut at 230hz, narrow Q. Wide Q boost 8db at 3k, 12.5 db at 8k. 2:1 compression, 30ms attack, 10 ms release, about 4 db reduction. Kick track was also duplicated and LPF at 150hz to create subkick track.
Snare: HPF 60hz 18db wide boost at 5k. Lindell 69 Channel (Helios channel emulation) adding 6 db at 10k, compressing about 4 db 2:1 ratio, slow attack, fastest release.
Snare track duplicate: HPF 60hz, 3 db wide boost at 2k, 18.5 db wide boost at 5k. Heavily compressed with Xiive Xtressor (Distressor emulation) at 4:1, medium attack, fastest release. Heavy gain reduction, probably around 10-15 db.
Snare Bottom: Polarity invert, HPF 60hz. 8.3 db wide cute at 1.3k, 11.5 db wide boost at 8k. 2:1 compression 0.1 ms attack, 10 ms release, about 10 db reduction.
Toms (on a stereo channel): HPF 60hz, 2 db low shelf at 200hz, 13 db tight cut at 414hz, 8 db wide boost at 3k, 18 db wide boost at 8k. 2:1 compression, 30 ms attack, 10 ms release, 4-5 db of reduction.
Overheads (shells and cymbals mixed down to one stereo track): Polarity invert, HPF 90 hz, 2:1 compression, 0.1 ms attack, 10 ms release, 3-4 db reduction
Room: 70hz HPF, SPL Iron compression 3-5 db fast attack, medium fast release
All drums routed to parallel group with Vertigo VSC-2 doing 8-10 db reduction at 2:1, 3ms attack, .1 ms release. Blended in subtly.
Snare bottom, Toms, and Room send to reverb IR's of an SPX90 room algorithm at 1 second, and a Bricasti M7 Heavy Room at 1 second.
I love the double tracked bass, the brilliant thing is the Amp and DI tracks are totally phase coherent in the bottom end since they are different performances. Both tracks were treated identically, with HPF 34 hz, 4.5 db wide boost at 1.5k, 8 db wide boost at 5k, LPF 10k, compressed with Purple MC77, 4:1, attack 4, release 7, 5-10 db reduction. Sent to TAL Chorus
Guitars:
Ash 1 HPF 75hz, LPF, 11.5k 5 db wide boost 2k, 21.5 db boost 8k (they were dark!). Acme Opticom compression, fast setting, 3 db reduction.
Ash 2: 70hz HPF, 7 db wide boost 2k, 1 db tight cut 4.2k, 17.5 db wide boost 8k.
Ash 3: 77hz HPF 10db wide boost 8k
Tom 1: 43hz HPF, 9db wide boost 85 hz, 4.5 db wide boost 2k, 13 db wide boost 8k. Acme Opticom compression, same settings as above.
Tom 2: 60hz HPF, 7.5 db wide boost 2.2k, 8.5 db wide boost 8k
Tom 3: 47hz HPF, 10db wide boost 8k, Acme Opticom compression.
all guitars routed to parallel EQ with Lindell PEX-500 boosting 10 at 6k, 5 bandwidth. Blended in subtly for shine
Synth 1: HPF 40 hz
Synth 2: hPF 77 hz, sent to TAL Chorus
Vox:
Ash 1: 98hz HPF, 4.5 db wide boost 1.8k, 2 db boost 5k, 9.5 db shelf boost 8k. Purple MC77 compression, 4:1, attack 3, release 7, about 10 db reduction. Lindelll 902 de-esser, 2.5k, occasional 1-2 db reduction. Steinberg Brickwall Limiter, occasional 1 db reduction. Sent to Lexicon MPX Native reverb, medium vocal plate, 1.8 sec, 150 ms pre-delay. 1/8th note stereo delay, tape slap delay, Soundtoys Micro Pitch Shift.
Ash 2 (stereo): 87 hz HPF, 8 db wide boost 1.8k, 2.3 db wide boost 5k, 9.4 db shelf boost at 8k. Same compression and effects as Ash 1.
Ben 1: 126 hz HPF, 4.5 db wwide boost 5k, 11 db shelf boost 8k, MixLand Vac Attack (Inward Connections TSL-4 emulation) 10 db reduction. 902 de-esser same as above. Sent to plate and 8th note delay and drum room reverb.
Jonny 1: 126hz HPF, flat EQ, all other processing same as Ben 1.
Jonny 2: Same as Jonny 1
Mixbuss: SSL Native Bus Compressor, 4:1. 10ms, attack, auto release, 185hz SC HPF, 4-5 db reduction. Harris Doyle Natalus EQ, 3 db boost 75 hz, 2 db boost 3k.
Interesting to see some of these numbers, I really don't pay attention to how much I am boosting or compressing in numeric values while mixing, just push it until it sounds good. Some things required very aggressive processing, such as Ash's guitars, others needed almost nothing, such as the overheads.
Thanks again for running this, I am excited!
Danial
Yep pretty much. the Green Day track and also the Jimmy Eat World have Chris Lord-Alge's "compress it to Jesus" sound with the guitars which I often try to emulate. With Smallpools it's more a reference for the vocals/synths and drums.
Preview of the Song (Demo Mix):