MIX CHALLENGE - MC090 February 2023 - Winners announced

[maxovrdrive]

Hello, Everyone!

Thank you very much Cristian Condrea (@cristian_condrea) for your song. As always, many thanks to @Mister Fox for keeping the games going.

Here's my mix: https://drive.google.com/file/d/1e1vt9G ... share_link

What I did:
VOX
- all vocals had a highpass and lowpass, dip on the lowmid, boost highmid
- lead vox had compression, deessing, bx_refinement for harshness
- lead vox had a parallel channel & plate send
- other vox had deessers
- back3 had chorus, deessing, compression, bx_refinement, imaging
- back-up had a chamber

KEYS
- had eq for highpass and additional boosts and cuts to achieve clarity
- little plate for effects

ELEC GTRS
- eq for clarity for rhythm; bx_refinement for solo
- spring reverb

ACOUSTIC GTR
- only the rhythm had a deesser, eq, and compression
- spring reverb

BASS
- eq into compression, then spectre (tape) on mid and highmid
- sent a pre-fader signal to another channel, highpass and work on the mid/highmid for additional clarity

DRUMS
- the usual eq and compression with some parallel channels for impact

MASTER
- compression
- saturation
- limiting

[UHLS]

hello everyone, thanks for the opportunity to mix this beautiful song.
my guideline was to mix more vintage than modern.
I did the mix with headphones.
kick and bass were a bit difficult to mix.
so i tried to lift the whole song first but ended up with a pretty bright mix. I didn't like that, so I focused on the bass and kick in the mix.
that's why my mix might be too dull, but i think that supports the balladesque in the song.
so i used klanghelm comps (mjuc and dc1a) for bass and drums.
for all guitars were mjuc and silika (kush audio) comps in use.
i thought the acoustic guitar was played beautifully, so i gave it an accent because it supports the groove of drums and bass.
keyboards are processed with EZ mix.
i used kush audio comps for voices (AR1, blyss and novatron) and processed the main signal with acustica audio lava. I chose the Ribera R12 as the microphone for this. the microphone softened the sharp s to such an extent that i didn't need a deesser.
At the beginning of the song I added vinyl crackles.
2bus only has clariphonic on it.
LUFS -16, peak -1db.

here is my mix:
https://workupload.com/file/XLDCKwvVKnE

[Dreni]

Hi guys,

This was a fun song too mix, and a bit out of my "comfort zone" as this is not the usual type of music I get too work with every day unfortunately.
And I actually had quite a hard time figuring out what direction I wanted too take this song in. But in the end I decided to do a kind of top down way of mixing, and looked for inspiration at bands like Incubus and RHCP as those where the only bands I knew that were closes to this kind of music.

As for my mixing session it looks like this:

- All tracks are routed to individual seperated master auxes, which than are routed directly too the mixbus.
Drums & Bass = D&B Master
Guitars = GTR Master
Keys & Synths = KEYS Master
Vocals = VOX MASTER

On each Master Bus I do some light compression with usually the Plugin Alliance SPL Iron Compressor, Shadow Hills Mastering Compressor or the Lindell 254E. Followed by a tiny small amounts of tone shaping EQ with Plugin Alliance Amek EK200 or Lindell TE-100 or Millenia NSEQ-2 (just to remove or add what I know I will want less/more of as the mix comes along). And than finally just adding a tiny bit of console emulation, harmonic saturation or tape with Plugin Alliance Neold Big Al, Lindell Bus 80 or 50 channel, or Acustica Audio Taupe.

So I use a mix of top down mixing and direct track and aux mixing as the mix comes along.
I usually always start with the drums and bass as that is always the fundamental in my mixes. And than I add the guitars and keys. And I sort of play around for quite some time with levels and balance of the instrumental of the song before I than add the vocals at the end on top of everything - as vocals always get the main stance in my mixes.


Here is the link for my mix-challenge entry:

https://www.dropbox.com/s/3clpizh0n005b ... i.wav?dl=0



Hope you guys enjoy it and feedbacks are always welcome! :-)

[floodo]

First of all thanks for sharing, to start I borrowed a technique from a friend, before starting to mix he normalizes all the tracks to -11 and processes all the tracks with the same chain looking to color all the tracks, in this chain there is a soothe 2, virtual tape machine, lindel 50 channel, a LA-2nd rooster without compressing absolutely nothing and a gullfoss with 20% recover and 20% tame and the subsequent export of the stems.

Before starting the mix I chose not to use references and try to do something totally opposite to the original mix, the original mix sounds very clean and neat, on the contrary I tried to dirty the frequency spectrum using a lot of harmonic distortion and try to get a very dense mix, as if it were an impassable wall of sound, also to make it a little more organic all the automations were done live with faders and to have that human error that gives life to the music.

To make the mix I used a recreation of the Andrew Scheps template, already by itself when going through the parallel processes of the template the drums sounded quite comfortable, I only retouched a little the kick with subtractive eq, the snare I didn't touch it at all, neither toms, just cut a little for the bass to the OH, HH and room, in the main bus of drums I used a VMX with a virtual mixbuss and a u73 compressing less than 1db and an esser.

Bass, I duplicated the bass, in one of the tracks I cut all the high part up to 200hz and compressed very strongly, in the other track I cut the low part up to 200hz, but I didn't get the definition I was looking for, by accident I inverted the phase and the bass became very thin, but with much more definition, so I left it with that offset and in a bass bus I recovered the lost bass with eq, I automated volume in some of the arrangements to give it more prominence.

Guitars, on the acoustic guitars a little eq and compression and jst bg guitars on the bus, on the electric guitar I used a guitar boost from a 60's Marshall with a sm57, some compression and ssl bus compressor on the bus, I don't remember well but on the solo guitar I used the same boost but with another microphone.

Keys, absolutely nothing, I sent everything to a bus where I put tape saturation to make them sound more natural, glue compression and the synth buss lite to add harmonic distortion.
Chorus, I converted all the chorus tracks to stereo to gain some density, compressed them all together in a bus and automated the panning that changes along the song, in fact there is a lot of automation in all the tracks, automation of volume, panning or effects,

Lead Vox, I separated in two tracks the main vocal, one with the complete track and another one for the chorus that would be added to the original track at the time, all this with the intention of gaining density in the chorus by converting the second track where only the chorus were and open it in the plane, the main track was equalized compressed and made up with noveltech vocal enhaser, the stereo track to support the chorus only used voicecentric, then in the bus of the voices, use an automated microshift to enter the chorus, to this is added the parallel bus that usually uses scheps in the vocals.

As you can see I didn't use too many processes, there are even tracks that I didn't touch at all, but the general sound of the mix was done in the master channel, where after the Scheps chain, I added a Manny EQ looking for a balance as flat as possible, LKJB refine that I don't know what it does but it sounds great and the best thing is that it's free, then I exported the mix to continue processing because my computer was dying for lack of resources, to this mix I continued working the balance with a coralbaxter, an emulation of manley massive, and I lifted a little in the 40khz with a maag eq, a ssl compressor, and a ssl compressor, and a ssl compressor, and a ssl compressor, and a ssl compressor, a ssl compressor, and with the coffeepun I attenuated at 150 and recovered at 120 and used the preamp to give it color, then a terry west relife to improve the micro dynamics, used studio one's alpine desk with a slightly exaggerated drive to make sure the distortion wrapped around each of the tracks and nothing else, that was all, then the problem to export, scheps doesn't really care about gain staging, so the mix was already too high so I adjusted the amount of lufs acceptable for the contest with a studio one mixtool.

I'm sorry to be so extensive with the explanations of what was going on in my head when I was dealing with the mix, I hope it is well understood since Spanish is complicated even for online translators.

Suerte y exito para todos, fue un gusto enorme participar de esta mezcla, excelentes musicos todos!!

my Mix -> https://drive.google.com/file/d/1OrAxf_ ... sp=sharing

[JeroenZuiderwijk]

These tracks are very professional recorded. Thank you for providing us with these tracks. That makes life a lot more easy when mixing

I really enjoyed the song. It has a nice melody/hook and lots of energy buildup towards the end of the song. A classic pop structure that works magic!

I wanted to have a mellow feel but also bring forward that energy.

This is my mix:

https://1drv.ms/u/s!Ahp8xH6KRIfbgTPdbPw ... F?e=KwGX3V

And this is how I created the mix:

Before I started mixing I made shure non of the drumtracks were out of phase.

Drums Overhead:
A lot of the sound of the snare came from the overheads. So I used compression to enhance the snare sound in this track with a 15,7ms attack time and 126ms release with a 4:1 ratio.
To remove some low end (kick) I use a HPF. To give it more brightness also some boost at 12K.
Drums Kick:
I used a bassexciter and parallelcompression to give it more body and weight. Also some eq (boost at 100Hz, cut at 340Hz and a boost at 4K and 8K).
I found this plugin that is called “thunderkick”…it does what it says...so I also used a little bit of that (subtle).
Drum snare:
Compression (same as overheadcompression)
Eq boost at 240Hz
Send to a lexicon PCM90 roomverb (high pass filterd at 400Hz)
Drums High Hat:
EQ: high pass filter at 1,5 Khz
Drums Ride:
EQ high pass filter at 460H and cut at 1.2Khz
Drums crash:
EQ: High pass at 200Hz cut at 600Hz
Drums toms:
Aggressive compression: 20:1 ratio, 20ms Attack 200ms release.
EQ cut at 300Hz, HPF at 35Hz
Drums room:
Bass exciter boost at 90Hz.
Drum buss:
One channel with parallel drum compression with two different compressors
One channel with compression, saturation and EQ (cut at 900Hz).
Bass guitar
Compression (attack 121ms, releas 539ms, ratio 12:1)
Sidechain compression fed by kick.
Percussion:
Saturation and EQ (high pass filter at 360Hz)
FX
saturation
GTR acoustic solo (amp)
Saturation and EQ (hpf at 100Hz, boost at 238Hz, cut at 750Hz, cut at 4Khz, LPF at 5Khz)
Send to stereo verb, verb/delay, roomverb
GTR acoustic + GTR Electric (amp)
Saturation and EQ (hpf AT 200Hz boost at 1,6Khz
GTR electric solo (amp)
Waveshaping distortion + EQ (HPF at 200 Hz boost at 2,6 Khz, LPF at 5,3 Khz)
Send to stereo reverb and delay/reverb
Keys Organ
EQ HPF 100 Hz
Keys Piano:
EQ HPF at 650Hz, boost at 6,4Khz
Send to PCM90 Room
Keys Rhodes:
HPF at 400Hz, boost at 1,5 Khz, LPF 2,1Khz
Saturation, stereo Width plugin, compression
Send to room, stereo reverb, reverb/delay
Strings:
Only some saturation
Vox artificial
Compression, saturation and EQ (HPF 530Hz)

Vox back1 +Vox back 3
Compression, saturation and EQ (HPF 530Hz)

Vox back 2 (artificial 3d) + Vox back 2
Compression and EQ (HPF at 230Hz and giant (7dB!) boost at 2,4Khz
Vox lead:
EQ HPF at 100Hz, cut at 160H, 1Khz and 4 Khz
Optocompressor, added harmonix, tubesimulator, saturation,
Send to stereo reverb, stereo pitch/delay effect, PCM90 Room, reverb/delay
Masterbus
Only some gluecompression with low ratio.

[paglia]

Hi everyone

I mixed this track after partially recovering from the seasonal flu. Thanks to forum challenge I can find new ways to get good results.

In this mix I used a "lazy" approach, I worked on the buses and not on the individual tracks. Only some tracks, like the vocal track, I worked directly on.

Mixed in my home all itb using Pro Tools, the left speaker nearly dead , Beyedynamic DT770PRO and iPad 12.9 speakers.

Mix Bus: Bx Digital V3 - Pro Audio Dsp DSM V3 - Waves GW MixCentric - Bettermaker EQ232D
Drum Bus: PA The Oven - UAD Massive Passive - UAD Neve 33609SE
Bass: Bettermaker EQ232D - Pulsar Modular P11 ABYSS - Softube Overstayer
Percussio Bus: Flat
Fx Bus: Flat
Acoustic Guitar Bus: UAD Pultec EQP-1A - Waves Reel ADT2V Live - Waves CLA-3A
Electric Guitar Bus: SSL X-comp
Keyboards Bus: UAD The Culture Vulture - Antares AVOX DUO
Vocal Track: UAD LA-2A - UAD SSL 4000 E
Vocal Parallel: Softube Overstayer - UAD 1176 Rev A
Vocal Reverb. UAD Capitol Chambers
Backing Vocals Bus: Eventide H949 Dual Harmonizer

Hope you like it!!

https://www.dropbox.com/s/5s9we7rih1wop ... a.wav?dl=0

[scottfitz]

Hi floodo,
I really love what you've done, never heard anything quite like it or heard of this technique!
Please could you tell me what are the settings on the soothe plugins?
Cheers

First of all thanks for sharing, to start I borrowed a technique from a friend, before starting to mix he normalizes all the tracks to -11 and processes all the tracks with the same chain looking to color all the tracks, in this chain there is a soothe 2, virtual tape machine, lindel 50 channel, a LA-2nd rooster without compressing absolutely nothing and a gullfoss with 20% recover and 20% tame and the subsequent export of the stems.

Before starting the mix I chose not to use references and try to do something totally opposite to the original mix, the original mix sounds very clean and neat, on the contrary I tried to dirty the frequency spectrum using a lot of harmonic distortion and try to get a very dense mix, as if it were an impassable wall of sound, also to make it a little more organic all the automations were done live with faders and to have that human error that gives life to the music.

To make the mix I used a recreation of the Andrew Scheps template, already by itself when going through the parallel processes of the template the drums sounded quite comfortable, I only retouched a little the kick with subtractive eq, the snare I didn't touch it at all, neither toms, just cut a little for the bass to the OH, HH and room, in the main bus of drums I used a VMX with a virtual mixbuss and a u73 compressing less than 1db and an esser.

Bass, I duplicated the bass, in one of the tracks I cut all the high part up to 200hz and compressed very strongly, in the other track I cut the low part up to 200hz, but I didn't get the definition I was looking for, by accident I inverted the phase and the bass became very thin, but with much more definition, so I left it with that offset and in a bass bus I recovered the lost bass with eq, I automated volume in some of the arrangements to give it more prominence.

Guitars, on the acoustic guitars a little eq and compression and jst bg guitars on the bus, on the electric guitar I used a guitar boost from a 60's Marshall with a sm57, some compression and ssl bus compressor on the bus, I don't remember well but on the solo guitar I used the same boost but with another microphone.

Keys, absolutely nothing, I sent everything to a bus where I put tape saturation to make them sound more natural, glue compression and the synth buss lite to add harmonic distortion.
Chorus, I converted all the chorus tracks to stereo to gain some density, compressed them all together in a bus and automated the panning that changes along the song, in fact there is a lot of automation in all the tracks, automation of volume, panning or effects,

Lead Vox, I separated in two tracks the main vocal, one with the complete track and another one for the chorus that would be added to the original track at the time, all this with the intention of gaining density in the chorus by converting the second track where only the chorus were and open it in the plane, the main track was equalized compressed and made up with noveltech vocal enhaser, the stereo track to support the chorus only used voicecentric, then in the bus of the voices, use an automated microshift to enter the chorus, to this is added the parallel bus that usually uses scheps in the vocals.

As you can see I didn't use too many processes, there are even tracks that I didn't touch at all, but the general sound of the mix was done in the master channel, where after the Scheps chain, I added a Manny EQ looking for a balance as flat as possible, LKJB refine that I don't know what it does but it sounds great and the best thing is that it's free, then I exported the mix to continue processing because my computer was dying for lack of resources, to this mix I continued working the balance with a coralbaxter, an emulation of manley massive, and I lifted a little in the 40khz with a maag eq, a ssl compressor, and a ssl compressor, and a ssl compressor, and a ssl compressor, and a ssl compressor, a ssl compressor, and with the coffeepun I attenuated at 150 and recovered at 120 and used the preamp to give it color, then a terry west relife to improve the micro dynamics, used studio one's alpine desk with a slightly exaggerated drive to make sure the distortion wrapped around each of the tracks and nothing else, that was all, then the problem to export, scheps doesn't really care about gain staging, so the mix was already too high so I adjusted the amount of lufs acceptable for the contest with a studio one mixtool.

I'm sorry to be so extensive with the explanations of what was going on in my head when I was dealing with the mix, I hope it is well understood since Spanish is complicated even for online translators.

Suerte y exito para todos, fue un gusto enorme participar de esta mezcla, excelentes musicos todos!!

my Mix -> https://drive.google.com/file/d/1OrAxf_ ... sp=sharing

[PistolPete]

Title;Statistics - "MC090__Cristian_Condrea__Big_Eyes__Pistolpete"
Date;Saturday, February 18, 2023
Loudness_Value;-16.58 LUFS
Loudness_Range;3.43 LU
Max_True_Peak_Level;-2.28 dBTP
Max_Momentary_Loudness;-12.43 LUFS
Max_Short_Term_Loudness;-13.78 LUFS
Sample Rate;44.100 kHz
Average RMS (AES-17) Left;-16.51 dB
Average RMS (AES-17) Right;-16.24 dB
Max. RMS Left;-14.09 dB
Max. RMS Right;-13.95 dB
Max. RMS;-13.95 dB
Peak Amplitude Left;-2.46 dB
Peak Amplitude Right;-2.33 dB
True Peak Left;-2.44 dB
True Peak Right;-2.28 dB
DC Offset Left;-oo dB
DC Offset Right;-oo dB
Bit Depth Left;24 bit
Bit Depth Right;24 bit


Here's My Submission:
https://drive.google.com/file/d/1pKqO6z ... sp=sharing


This was a fun song to mic, really clean crisp recordings to start with made things easy, but the challenge itself was quite hard… how to make it sound really good, put my own flavor on it, but not deviate too far from the original either…

My focus was a lot of movement, stereo field automation with LR panning, Automated faders on many of the vocal, bass and guitar channels, a nice warm plate reverb, and a crazy spacey long ping pong delay.

My mixing was fairly simple, in terms of each track processing. I really didn’t use much on any of the channels other than eq, and auto fader plugins. Most of the mixing magic was done through a series of FX sends.

For each “group” of channels I setup a VCA and a specific compressor FX send (Drums, Guitars, VOX). I chose the Waves Abby Road for each group, tweaked to liking.

For my FX sends I created:
Reverb: Waves Abbey Road Plate Room
Delay: Echoboy
Saturation: Waves Abbey Road Saturation
AIR-HIGHS:
VOCAL FX:
PANNER: Panman


After leveling each track, and panning accordingly I added EQs to a few of the main focus points of the song (bass, electric guitar in the solo, vocal mains.

Most of my “mixing’ was done by blending each track with the different FX sends above. My goal was to really isolate some of the instruments like the bass, the kick and snare, the acoustic guitar, the electric guitar on the solo and try to make them really pop out in the 3d stereo field.


Drums: I auto aligned the drums
Snare: Waves transient designer
Kick: shepps onmi channel, L1 limiter to crunch the to get a good thrump.
Room I used a Kramer EQ to tune the room to liking and cut a little bass out.
No other effects were directly used on the drum tracks, everything was automation and sends

Bass was mentioned by the song provider as being one of the focuses so I didn’t want to change the tone too much, just make it more lively by automating the picking and add a little distortion. Used Bass Rider and Scheps Ominchannel to sidechain the kicks and duck them to help the kicks come through better. Used Litter Radiator to warm up and distort the bass a bit. A DC offset/HPF was used to cut out the low lows

Guitars: not much processing was done on the guitar tracks, each one had a differently tuned automated rider plugin to give motion and realism,

Electric solo: I re-ammped to sound similar but more present in the mix. I also added an additional delay on the main electric , on the clean I added PanMan and an automated rider.

Vocals:
Lead Vox I EQ-D, used a vocal rider to give it more life sounding, and a transient designer to my taste, added decapitator to grunge it up in the lower mids and a Pultec EQ plug to tone it to liking.

Vocal backups all were processed differently with combinations of EQ’s, Delay/lofi effects and vocal riders. Very minimal processing was done on the backups directly.

FX Tracks:
None of these tracks have any direct processing and just use sends to change tone and placemement in the mix.

Mix Buss: J37 Tape to give a tape compression and warmth, SSL Bus comp hardly touching just for a tad bit of glue, S-1 stereo widener to touch on placement slightly and a L1 limiter to prevent clipping.


Overall this was a really fun track to mix, I think I did about 5 versions of it really until I was happy with it, and each one got better and better. The youtube video mix was really really good so it was hard to not only get my mix to a comparable sound, but also to add my own vibe. I hope you like it!

Best

[floodo]

Hi scottfitz it is very simple, to the default settings of the soothe, you just have to deactivate all the bands and it will be a flat line.
thanks for asking, I'm glad you like it.
I will post images of the complete chain and the configuration of each plugin in the near future.

Hi floodo,
I really love what you've done, never heard anything quite like it or heard of this technique!
Please could you tell me what are the settings on the soothe plugins?
Cheers

First of all thanks for sharing, to start I borrowed a technique from a friend, before starting to mix he normalizes all the tracks to -11 and processes all the tracks with the same chain looking to color all the tracks, in this chain there is a soothe 2, virtual tape machine, lindel 50 channel, a LA-2nd rooster without compressing absolutely nothing and a gullfoss with 20% recover and 20% tame and the subsequent export of the stems.

Before starting the mix I chose not to use references and try to do something totally opposite to the original mix, the original mix sounds very clean and neat, on the contrary I tried to dirty the frequency spectrum using a lot of harmonic distortion and try to get a very dense mix, as if it were an impassable wall of sound, also to make it a little more organic all the automations were done live with faders and to have that human error that gives life to the music.

To make the mix I used a recreation of the Andrew Scheps template, already by itself when going through the parallel processes of the template the drums sounded quite comfortable, I only retouched a little the kick with subtractive eq, the snare I didn't touch it at all, neither toms, just cut a little for the bass to the OH, HH and room, in the main bus of drums I used a VMX with a virtual mixbuss and a u73 compressing less than 1db and an esser.

Bass, I duplicated the bass, in one of the tracks I cut all the high part up to 200hz and compressed very strongly, in the other track I cut the low part up to 200hz, but I didn't get the definition I was looking for, by accident I inverted the phase and the bass became very thin, but with much more definition, so I left it with that offset and in a bass bus I recovered the lost bass with eq, I automated volume in some of the arrangements to give it more prominence.

Guitars, on the acoustic guitars a little eq and compression and jst bg guitars on the bus, on the electric guitar I used a guitar boost from a 60's Marshall with a sm57, some compression and ssl bus compressor on the bus, I don't remember well but on the solo guitar I used the same boost but with another microphone.

Keys, absolutely nothing, I sent everything to a bus where I put tape saturation to make them sound more natural, glue compression and the synth buss lite to add harmonic distortion.
Chorus, I converted all the chorus tracks to stereo to gain some density, compressed them all together in a bus and automated the panning that changes along the song, in fact there is a lot of automation in all the tracks, automation of volume, panning or effects,

Lead Vox, I separated in two tracks the main vocal, one with the complete track and another one for the chorus that would be added to the original track at the time, all this with the intention of gaining density in the chorus by converting the second track where only the chorus were and open it in the plane, the main track was equalized compressed and made up with noveltech vocal enhaser, the stereo track to support the chorus only used voicecentric, then in the bus of the voices, use an automated microshift to enter the chorus, to this is added the parallel bus that usually uses scheps in the vocals.

As you can see I didn't use too many processes, there are even tracks that I didn't touch at all, but the general sound of the mix was done in the master channel, where after the Scheps chain, I added a Manny EQ looking for a balance as flat as possible, LKJB refine that I don't know what it does but it sounds great and the best thing is that it's free, then I exported the mix to continue processing because my computer was dying for lack of resources, to this mix I continued working the balance with a coralbaxter, an emulation of manley massive, and I lifted a little in the 40khz with a maag eq, a ssl compressor, and a ssl compressor, and a ssl compressor, and a ssl compressor, and a ssl compressor, a ssl compressor, and with the coffeepun I attenuated at 150 and recovered at 120 and used the preamp to give it color, then a terry west relife to improve the micro dynamics, used studio one's alpine desk with a slightly exaggerated drive to make sure the distortion wrapped around each of the tracks and nothing else, that was all, then the problem to export, scheps doesn't really care about gain staging, so the mix was already too high so I adjusted the amount of lufs acceptable for the contest with a studio one mixtool.

I'm sorry to be so extensive with the explanations of what was going on in my head when I was dealing with the mix, I hope it is well understood since Spanish is complicated even for online translators.

Suerte y exito para todos, fue un gusto enorme participar de esta mezcla, excelentes musicos todos!!

my Mix -> https://drive.google.com/file/d/1OrAxf_ ... sp=sharing

[final_mix_3.wav]

Hi eveyone! the track was really funny to work with!

So, starting from the drums:
kick: tr5 black76 compression+waves puigtec eqp1a+avid eq3 7-band
snare top/bottom: avid eq3 7-band+tr5 black76
toms: avid eq3 7-band
ride/crash/oh: nothing, fr, just level and pan
drums room: muted

drums bus: waves CLA-76+waves puigtec eqp1a+waves L1 limiter

the drums have is own parallel reverb, a waves rverb

instrument:
bass: avid eq3 7-band+TDR Nova eq+avid d3 comp with kick sidechain
agtr: Plugin Alliance Maag EQ4+tr5 black76 compression+tr5 white 2A
agtr solo: avid eq3 7-band on the clean/amp+an amp simulation by waves+j37+avid flanger+waves puigtec eqp1a
egtr solo: level on the clean/amp+waves j37+waves puigtec eqp1a
egtr rhythm: Plugin Alliance Maag EQ4+tr5 black76 compression+tr5 white 2A+waves puigtec eqp1a
organ/rhodes: only level and pan
piano: avid eq3 7-band
strings: waves doubler 4+waves s1 imager+avid eq3 7-band
guitar bus: tr5 vc-670
keys bus: waves puigtec eqp1a
all instrument bus: waves l1 limiter


all the instrument have their own parallel reverb, a waves rverb
the guitars have their own parallel delay, a j37

sfx:
reverse cymbal/reverse snare long/wahwah sound: just level and pan
sfx bus: waves l1 limiter

vox:
lead vox: waves ssleq+tr5 black76 compression+tr5 white 2A+avid eq3 7-band
back 1: level
back 2: waves ssleq
back 2 (artificial 3rd): ssleq
back 3: ssleq+tr5 white 2A
artifical back octave: waves doubler 4
vox back bus: waves ssleq+tr5 white 2A
all vox bus: waves deEsser+tr5 white 2A+avid eq3 7-band+waves ssleq+waves l1 limiter

mix bus: l1 limiter (+span and youlean for metering)

i tried to make everything more "fresh"/"airy"+great drums punch and "distorted/saturated" guitar

https://drive.google.com/file/d/1l4--0_ ... sp=sharing