A big thank you to
@JeroenZuiderwijk for providing the multitracks. It was great fun mixing them.
For this challenge I used ProTools with the Michael Brauer Template again. I like it for dense tracks where everybody is fighting for attention so to say. The MB setup can handle this very well on most occasions. For those not knowing the way it works I highly recommend watching the Puremix Video if available or the interviews which are flying around. Basically his approach is to use a multi bussing technique with a lot of parallel processes, mostly compression and saturation. All tracks are treated with either SSL4K or 9K emulations, the bass is spilt into a neck and a body part. I used the Softube Console 1 + Fader Combo.
Drums:
I used SoundRadix Drum Leveler for the Kick because I thought there were so many inconsistencies in volume and additionally ended up automating it where I thought it was needed.
The snare was difficult to manage, because of the nasty spikes it had baked in. I used Decapitator as a first stage for taming the transients, RBass for adding low punch instead of EQ (I sometimes find that more pleasing), 1176 with the fastest attack settings and Eventide Split EQ (using the transient portion) to tame the spikes as much as possible. It then goes to a parallel punch channel to make it cut though the mix in a more natural way.
The overheads are treated with the UAD Fatso and ProTools Lofi to tame some harshness and automation for more dynamics.
Toms and Room have the Kramer Pie Compressor to get some punch.
Bass:
Because the track was generally quite muddy and missing detail I duplicated it, treated the copy with a Fuzz effect by Amplitube and automated it to taste, so that it cuts through the mix and gives it a certain vibe. I also thought that this tone came across as a bit pretentious, which emphasizes the attitude that the lyrics convey.
Guitars:
It wasn't easy to make sense of the order and hierarchy of all these tracks so I spent some time to distribute them in a way I could understand them. I then used the DI track with Amplitube in verse one where I thought something was missing. For widening some tracks I used Waves ADT where I thought the stereo image went out of balance. In the Parts with the main riff I added some parallel compression (Dual 1176) to bring them out and to get even more bite. I used a lot of automation to get the push where it was needed.
Vocals:
As these where already treated I only used a L1 Limiter to catch some of the peaks, followed by UA1176RevA for the tone plus the Weiss Deesser to tame harshness and sibilance.
Effects:
Kush Goldplate, IK Multimedia Studio Reverb with a Chamber, Slate Verbsuite Classics with a Bricasti Preset for Room Ambience, Delay (UA EP-34) for the vocals at some spots and UA Korg SDD-3000 and Pulsar Echorec + McDSP EC300 for the Solo Guitar to get the depth I was looking for.
The
Mixbus is populated with the Fab Filter Pro MB with a preset I "stole" from Fab Dupont. I think it helps a lot
It then goes to my Tonefarm SSL Gbus compressor clone (great units build by Frank Röllen here in Germany). For a track like this, which is fast and energetic I tend to use these type of mixbus compression 10 times out of 9. It is then followed by Softubes Germanium Compressor, which is part of the MB template and gives a nice low-end. The signal then goes to the Sonnox Oxford Limiter using the Inflator circuit a bit (which gives more perceived loudness), Softubes Curve Bender to get more definition of the whole mix and for widen the track a bit, UAD Studer 800 and the Weiss Deesser to tame some harsh resonances.
https://www.dropbox.com/s/sawz1js14bzt1 ... K.wav?dl=0Could totally just be my taste.
If I was working with a band I would have definitely asked for feedback at a much earlier point in the process and realise now I actually find that one of the biggest challenges of the mix challenge. Its a lesson in itself!