Mix Challenge

Hello everyone,

Great track @Edling. This song is well written, produced and arranged.

I mixed this song using on my Beyerdynamic DT 770 pro head phones, frequency corrected with Sonarworks SoundID, and cross checked with Adam A7 speakers, the room has not been treated.

My goal for this track was to match the somber and lonely tone of the lyrics, to feel intimate and personal. I wanted the drums to sound as natural as possible, to feel like a heart beat rather than a driving force. For the bass, the idea was to glue the rest of the track together, pushing the track along, while maintaining a sense of darkness and emotion. The vocals are the main focus of the song. I needed them to have their own space and room. I treated them with a BX Stereomaker. The clean guitar I put in the center. To me, it felt like a supporting character helping carry the vocals on their journey. The distorted guitars were mixed for the emotional climax of the song; which of course is the chorus. The keys and strings, I wanted them to give the track a feeling of depth. I used a buss compressor on the main channel to give the track clue and punch.

Attached is a link to my track:

https://drive.google.com/file/d/199uz4a ... drive_link

Thank you,

MadMav

Hi all,
here is my version:
https://drive.google.com/file/d/1RnDHMo ... sp=sharing

Thanks to the song provider and also Mister Fox!

It was a fun mix and well recorded tracks.
I would never have guessed that the guitars were recorded with a 20 year old Line 6 pod.
They sounded quite good to me.

What I used:
My DAW was Reaper. The Mixbus treatment was only a hardware SSL Buscompressor.
Channels had dynamics from bx console SSL 4000E where needed (Kick, Snare Top+Bot, Toms) and a CLA 76 on the vocals.
Also a waves deesser on the vocals.
EQs were used from a Allen Heath ZED R16 via ADAT Inserts. I recently got this board and this was my first mix done on it.
I was quite pleased with the sound of the EQs, and dialling in on the physical hardware was just so much fun while mixing.
2 more plugin Neve EQs (Nebula) on Kick and Bass.
Triggered Pink Noise from Kick and Snare to send them to the reverbs for some drum ambience.
FX were some IRs from PCM70 and Lexicon 480, Delays from Reaper, LittleMicroshift on Voc, SPX Nevermore as Chorus.

I added some volume automation on the master (+1dB entering the choruses, going back to +-0 after a few seconds) and the fadeout at the end.
Also some volume automation on vocals.

My intention was to make the tracks fit smoothly together, tame what sticks out. Have the guitars provide the energy when entering the choruses. Have the bass guitar clearly audible and the drums giving the foundation. Vocals on top but tucked in.

Hope you enjoy!

Hi everybody,
let me first say that this song, despite (or maybe because) it´s sad theme, is awesome!
Thanks for the nice tracks and in total (i owned the first red Line 6 Bean myself) makes tonally total sense.
Lot´s of stuff to create a supporting atmosphere for the Vocals.
I did a quick listen to the provided and youtube mix.
Just jumping arround to not get to familiar with theese mixes.
While mixing the Track it really send me on a trip.
I´m hearing my final mix now for some days in the car and while, be very happy with myself, i had to be cautious not to get a downer. We have Winter here in Germany right now ;-)
But under the line, as far as i (wish to) understand "The Person that you see" is what the singer has the choice to become, right? So maybe there is a happy end?

Mixing:
I mix Analog (SSL AWS 948) with analog and some digital outboard.

Drums:
I had my difficulties with the Snare and i wished to Grab into my Sample crate but i didn´t.
I wanted the Snare to be more Roomy but with the transient it just did not sound right into the reverb.
I duplicated the Top Snare in Cubase, faded in the impact of every Snare Hit on that dup.Channel and used that ring out to feed a 2nd Channel of the console.
Only that channel got send into reverb (1 Stereo Cue and 1 Aux Send) feeding 4 Reverbs in total (M7,SPX2000,EMT246,Yamaha Rev1) and got mixed back (diiferent amounts) with an ssl sigma into Stereochannel Nr. 2 of the AWS (MY FX Return Channel).
I use SSL Xrack Dynamics on all Drumchannels as well as Console EQ only.
The orignal (unfaded Snare) got shaped with an SPL 9842 Transient Designer and the XR618 Comp/Gate.
The Same Dynamics/EQ Treatment goes for Toms and Kick.
Overheads same but with an UREI 1178 (barely Moving).
Rooms. I used the Provided Rooms but i felt that i would need more Atmosphere so in Cubase i made a second Room Mix by using Soundcity and combined that with the others . Only verb not re-mic cause i thought that would equals "samples".
The Room got into a Stereo Channel of the Console and there into 2 elysia mpressor 500 followed by Console EQ.
Hihat - own Inlineconsolechannel with a bit of EMT and Rev1, Shaker and Tamb - own Stereochannel with XR618 comp and console eq and same verb.
All
Kick, Snare and Toms got send or tracked out (AWS Trackbus 5&6) into my paralel Drum Crusher.
I wish i had a 33609 but I use a Neve 5043 for that (Greg Wells said it is the better 33609 and i allready sold everything i had for Studiogear so that 5043 must suffice).
Toms had even another outboard reverb, the amsrmx16. I reach that by a direct out of the toms Stereo channel.

Bass. Here i used a Plugin :-) it´s the übercool Mamoth!
Then the Bass gets out into the console and hits a 2-1176 with the usual 1176 setting followed by console EQ. Then with Trackbus Number 1 it gets out into a JLM LA500 a into a Dimesnion D into and Edison and get´s back into two Mono InlineChannels of the Console for a bit of Chorus.

Vocals (Center of the Console)
The Console is hard patched to:
1st. Mono - Mainvocals with BLA Bluey or LA3a or both with console EQ and Eventide spread, Ursa Major Space Station, Lex960 Plate and slap, and a throw (Automated Aux 2) to a Line 6 (some throws in the mix) echo pro.
I used aditonally 2 pcm 42 into a 960 verb for atmosphere on the vocals (Return Volume automated).
2nd. Mono - Monodouble with 1176 and LA-2a with console EQ and Eventide spread, Ursa Major Space Station, Lex960 Plate and slap, and a throw delay to a Line 6 (some throws in the mix) echo pro.
1st. Stereo all the same possible as above but i used the 4th. 960 Machine for different Verb Settings and as Comp after Console EQ i use a Vac-Rac TSL-4 with the STUN Setting.
2nd. Stereo all the same possible as above but i used the 4th. 960 Machine for different Verb Settings and as Comp after Console EQ i use a StereoXrackModule.

(edit) While looking at my Session recall PDF i relised that i forgot to mention: On all Mono and Stereo Vocal Channels the compressors are followed by DBX502 Deessers. I forgot cause i just never fiddle with their controls.

Guitar:
1 st Stereo Channel with the Rythm GT´s into Console EQ and 2 universal Audio LA 3a´s
2nd. Stereo channel summed with the wha and different melody parts into 2 audioscape la3a´s
3rd. Stereo channel with Lead, controlled by 2 JLM LA500a and console EQ as well as a Eventide "Guitar Magic" send.
4th. Acoustic Guitar controlled by empircal Labs Distressors and fxd with a (i love this unit) digitech vintage-digital 19" Multi FX. Adressed by the direct out of the channel and volume controlled by the consoles center section.

Synth:

Since the Synth´s are many.....
I summed them out to the 2 remaining Stereo Channels and used the direct inject of the console to adress them with different hardware effects but send out of cubase busses for automation.

I have a dedicated Sterochannel on the console for paralel Instrumental treatment which is fader/Channel Number one. My Aproach here is the following: When i was complete in the Box i used that Rearbus Technique of Andrew Scheps a lot. He used an crusty pair, as he told, of 1176´s in his wall of sound and found out the the UAD anniversary 1176 VST is delivering what he wanted. And i liked that so much that i used it on all ITB Work. By going all Analog i lost this approach....up until in a lonely moment on the toilet it came into my mind! I just need to find a pair of Hardware Anniversary 1176´s and since the plugins are very close to the hardware i could do it the other way arround! You hear this pair of 1176´s kicking in in every chorus with automation.

Speaking of Automation.
i use automation heavily! There is Panorama Automation on Guitar in the Verses made in Cubase (Cause it is not possible to do on the console) and, no joke, every console (Except Stereo Number 2/SigmaFXreturn) fader and many auxes and FX Returns in the Sigma got automated by delta automation. After the first single channel Autopass i wrote a 2nd. Automation pass with the Stereo Mixchannel. On my Mixchannel/2Bus i am going through a SSL Bus+ (everything deactivated, No 4K Color, no comp, only hf dynamic EQ), into a Focusrite Blue 230 to achieve this "Snarebreath" with 0,75 - 1 db of compression, into an API 2500 (with no comression aplied) into a pair of Pultec EQM 1s3 with a pre curve (Setting in the provided Session recall PDF). With the -16 LUFS Rule all theese comps make really no sense but soemhow this rule makes me think that it makes me better at mixing. Don´t expect to much from my Mix. I spent 99% of my living time with acoustics and only 1% with what i love the most :-) Mixing Music! Thanks again for this nice oportunity and i am looking forward what the next months will provide here.

https://www.dropbox.com/scl/fi/o8yiwkh2 ... 9dudi&dl=0

Session Recall PDF: https://www.dropbox.com/scl/fi/a378i44l ... cj0gf&dl=0


I mixed that Song on a Set of SKY Audio VERDADE II Speakers with Sky Audio Stereo Subs. DAW Cubase 12 into SSL AWS 948. The SSL feeds out into a SPL DMC Mastering Console, which is my Main Monitor Controller, feeding SPL Performer 1200 Poweramps.

Hi everyone,

Here is my mix: https://www.dropbox.com/scl/fi/vok6h2wn ... hikw7&dl=0

I had great time mixing this song and it was a great experience to work on my Rock mixing skills! In terms of mixing style and what I did, I started with drums, percussion, and bass and then worked my way through the instruments starting with electric guitars to slowly fit everything together. I tend to always cut before boosting, cutting unnecessary frequencies, unmasking, etc. and then I'll reach for harmonics/saturation to boost what I want more of or think it needs. From the first pass of the demo I could hear some ideas that I wanted to go after: super aggressive and punchy drums, thick and aggressive guitars that weren't too harsh, and some cool effects on the lead vocal. I didn't go as crazy as I thought I would with the vocal effects but I felt like the delays and reverbs I ended up using were great and created a really cool space for him to sit.

For my gear and specs I am 100% in the box and I use Pro Tools. I mix on a pair of Focal Shape 65s in a smaller room that is half treated with panels, and I'm also using SoundID Reference from Sonarworks for room correction. I'm getting back into using headphones for referencing so I made some adjustments on my Audio-Technica ATH-M50xs, and I also referenced on my AirPods as well as in my car.

Thank you to the Song Provider @Edling and I'm excited to go back and listen to everyone's mixes!

Hello, this is my first time participating! I've had my mixing gear boxed up for 5 years after moving and I finally get it setup last month.

My mix submission: https://drive.google.com/file/d/1Bc05VZ ... drive_link

I used Reaper and a mix of plugins and hardware compressors. Mixing this track presented a fun challenge with so many layers to balance. After experimenting with EQ adjustments, I felt the guitars really needed to fill the low-mids, while the bass sounded best when bright and forward in the mix. The shaker and tambourine had a tendency to cause ear fatigue, so I kept them just audible enough to add texture without overpowering the track.

Interestingly, I avoided listening to the original until I completed my mix to ensure I could approach it with fresh ears. When I finally gave it a listen, I noticed the wah-wah guitar was more prominent than I expected, and the acoustic guitar was tucked underneath everything — even during the breakdown. I made a few adjustments to my mix to try and respect the original intent while making choices that felt right for this version.
The snare was out of phase with the overheads, but the toms looked fine, so I flipped the phase on the snare. There were some annoying pinging harmonics on the top snare mic and overheads. To prevent interference with the close mic, I applied a high-pass filter at 800Hz on the overheads. I cut the snare harmonics at 389Hz, 410Hz, and 680Hz. For the bottom snare, I mixed just enough in (with no EQ) so it was audible without sounding papery.

I used a Hairball 1176 on the combined snare mics with about 12dB of compression, a medium attack, and a fast release. For the kick drum, I applied 10dB of compression using a dbx160 and added a sub-kick at 38Hz. All close mics were gated to control resonance, allowing me to apply heavy compression. I also ran the close mics through parallel compression. I like the drums to sound punchy and tight.

The room mics needed time alignment to reduce delay, so I shifted them and compressed with a dbx166. The overheads were compressed with a VLA II, aiming for 10dB of compression on both. I ran the entire drum bus through a Stam Audio SA400 with a 3ms attack, auto release, and 4dB of gain reduction. To tame peaks, I clipped the drum bus with 4dB of reduction using KClip.

For the bass, I used the DI track to anchor the low end and filled it out with a Bass XXL. I did a shelf cut at 2kHz and applied 8dB of compression to even out the low end. The bass amp track provided grit and tone, with boosts at 380Hz and 2.5kHz. I ran it through Kazrog True Iron and added a stereo chorus for separation and vocal space. To get that Sans Amp sound, I processed it through TSE-BOD. Both bass tracks were summed, and I used a C6 stereo sidechain to duck the bass when the kick hit. The bass drives the song and really brings energy in the second verse—probably my favorite part.

Since the overall track could easily sound thin due to the sampled drums and heavy synths, I used the distorted guitars to fill out the mids. I hard-panned them and gave a heavy boost at 500Hz so they sat between the bass and synth. A plate reverb with flipped left and right channels adds depth. You can notice it in the intro before the bass and drums kick in. For the intro keys, I added Bass XXL and Valhalla Shimmer for texture.
In the chorus, I used a crunch guitar for a jangly boost, applying a strong boost at 2.7kHz and adding stereo chorus for width. The keys and strings helped fill out the sides and top end.

The background verse harmony just wasn't cutting it in mono, so I used a chorus effect to make it stereo. I sidechained the lead vocals to the background vocals and ducked 2kHz for clarity. Band compression at 9kHz reduced consonants and sibilance, followed by a de-esser for additional control.

For the lead vocals, I used Warren Huart’s trick: First, I automated the levels for consistency. I then ran the vocals through a dbx160 and Hairball 1176. I used sends to create distortion, octave-down, width, and whisper tracks with a vocoder. Plate reverb was added, ducked by 10dB with a sidechain compressor. Also there a strange little hickup on word "second" in the line of the verse. I fixed that with manual pitch correction.

I automated the volume on most tracks, boosting the chorus by 2–4dB. On the main bus, I applied an SA4000 with a 30ms attack, 0.1s release, a 4:1 ratio, and 4dB of gain reduction (measured in the chorus). I normalized the track to -16LUFS - per the mix contest rules.

Hope you enjoy my mix!

Loudness_Value;-16.40 LUFS
Sample Rate;44.100 kHz
Average RMS (AES-17) Left;-16.32 dB
Average RMS (AES-17) Right;-16.46 dB
Max. RMS;-12.47 dB
Peak Amplitude Left;-1.28 dB
Peak Amplitude Right;-1.56 dB
True Peak Left;-1.25 dB
True Peak Right;-1.56 dB
Bit Depth Left;24 bit
Bit Depth Right;24 bit


Monthly Mix Contest Entry Link:
https://drive.google.com/file/d/1995uMC ... sp=sharing

General Comments:

This months song was really fun to mix, yet very challenging. I really enjoyed this song, both mixing and listening. Thank you to the song provider @Edling for providing a great song to the contest and to @misterfox for hosting this forum and contest.

I imported the tracks, typical session setup/maintenance and brought each track to a nice starting volume by using pink noise at -15 to gain stage. Usually I find the pink noise helps me get everything quickly to a good starting blend. I listened a few times to the provided mixed version. Most notable to me was the drums almost were too loud in my opinion in the original, and there seemed to be almost too much mix bus compression or some kind of filter sound over the track. My goals were to open up the mix instrument spacing, bringing clarity and movement to the mix. I wanted to clean up the hooks/chorus as they seemed cluttered with so many instruments playing at the same time, and wanted to keep the drums sharp and bright but also wanted some of the keys, synths and strings to come through more.

The original mix was kind of flat in terms of movement/motion in the mix, so I focused a lot on ducking, automation (real time and plugin based), panning, phasers, and used GEM MOD which is a motion plugin that doesn't add a reverb effect but really pushes instruments in and out of the mix. I really tried to let the main "focus" instruments shine when they were supposed to and tried my best to create a nice journey through the song transitions.

I did an entire mix, and it sounded amazing, but after comparing it to the original mix, I noticed I focused on too much of the totality of instruments and not really keeping the guitar energy. I scrapped that mix, did a completely new mix, which I hated, so I went back to the original since it was so good, and fixed all my "mix notes" after listening for a good week at work, driving and at home. In total I did 5 versions of the mix and I think the final mix sounds really good. I probably could even find more to fix, but I think I did it justice and hope the song provider agrees.


Mixing Setup:
Mainly mixed on Sennheiser HD650 cans, and occasionally checking on my 20 year old fostex PM5 monitors in a bedroom studio. I have full spectrum sound blankets on the walls but currently I am not using any correction software and currently don't have my 31band 2 channel EQ hooked up. In the past I used to manually EQ and treat my rooms which was amazing, but now its a hobby and I will be getting a new interface soon, so hopefully I can re-wire the entire studio and incorporate a EQ correction signal flow to my monitor selector.

Computer (Ryzen 7, 8 core, 32gb ram, Steinberg ur-22 cheap interface.)
Plugins (thousands of dollars of waves, plugin alliance, soundtoys, and other plugins).
Cubase 10.5 Pro

Mix was checked on Bluetooth sony headphones (cheap), car stereo, Fostex PM5 monitors (briefly so I didn't piss off my neighbors, used in both mono and stereo), Sennheiser HD280s, Sennheiser HD650, mono smartphone speaker

--------------------

Mixing Session and Layout:
As usual, my sessions are set up with mostly parallel processing for each instrument group using FX sends:
Some tracks get additional direct processing. The FX Send tracks are labeled by instrument group which they primarily went to, however some tracks got multiple FX sends to create thickness, or phantom placement/reverbs..etc.


Almost all channels at least had a Channel Strip directly inserted: Used were " BX AMEK 200, Scheps Omnichannel (love this one!), Lindell 50 (mostly keys and some guitars), Lindel 80, AMEK 9099, Lindel 69.

FX Sends:
FX KEYS TAPE - Waves J37 tape *all keys
FX Vox Saturation - Devil Loc Deluxe, Vocal Rider, Platone Studio Reverb
FX VOX reverb - Little Plate (sountoys), REQ 6, Pulsar w495 EQ,
FX VOX tube - Black Box HG2, Vocal Rider
FX VOX COMP - CLA - 76 (love this comp on vocals)
FX Bass Distortion - Decapitator, S1 stereo imager, Bass Rider
FX Drums Snare Comp- DBX - 160, Gate
FX Drums Distoration - Devil Loc Deluxe, Gate
FX Guitar Distortion - Devil Loc Delus, The Oven

I'm not going to get into every track and plugin used, but Most tracks used just a channel strip and plugins like Reverb, GemMOD, Delays and EQ to mainly work on instrument frequency clashes and position. I took screenshots if you would like to see, links below.

Since the original files were really good sounding, most of my direct processing wasn't about improving any of the sounds, but more cutting out frequencies to help competing sounds blend well, using sidechain processing to create motion and space (bass sidechained to kick), Guitar Crunch sidechained to snare and guitar solo, guitar distortion sidechained to vocals and snare...etc (quite a bid of sidechain ducking was used on this mix as there were A LOT of instruments that shared that 500hz to 4k region.

I also used A LOT of reverbs, delays, stereo panning and compression and EQ to help the instruments sit well in the mix and not compete for space/time.

Lastly the drums. I noticed the snare was very snappy and sharp in the original mix, so I tried to keep that element of the snare, and brought the kick out a lot to really hit hard, but I also tried to keep them slightly buried in the mix so they weren't the main focus, but were still impactful. Hopefully I did a good job with them. I autoaligned all the drums (before I read the notes and realized they weren't live) lol, and was already far into the mix when I read the mix notes, so I left the autoalign on, since its just habit. I also did use autoalign on some of the bass, and guitars just to make sure they didn't have any phase issues with all the instruments playing during hooks/chorus. I used SPL De-Verb on the Ambient tracks to help take away some of the bleed and reverb, so I could add my own and keep the sharp transients.


Drums:
https://drive.google.com/file/d/14xcU-y ... sp=sharing


Keys
https://drive.google.com/file/d/1X3KfAg ... sp=sharing

Vox
https://drive.google.com/file/d/1w2M8Td ... sp=sharing

Guitars
https://drive.google.com/file/d/1SCD09N ... sp=sharing

Bass
https://drive.google.com/file/d/12Ry4Hv ... sp=sharing



Mixbus I kind of went nuts on this run, as I recently bought a bunch of plugins I wanted to try. I mixed the song without the mixbus plugins, then added them to help with EQ, Glue, stereo separation and some saturation and tone, then I turned off the mixbus plugs and went deeper into mixing each channel without mix bus processing, and in my final adjustments turned the mixbus processing on and made minor tweaks to finish the track.

Mixbus:
Amek Mastering Compressor
BX Glue
Abby Road Mastering suite (tape, eq, compression, stereo)
Basslane (bass harmonics)
Black Box HG-Q (this thing is new and very interesting, its a multiband tube saturator/eq.
SPL Big (stereo imaging plugin).

The Stereo Bus/Main Out I just have a brickwall limiter at -1.3db and my analytical plugins (SPL hawkeye, ISOL8, Waves VU meter, Waves WLM Plus stereo.

I really enjoyed mixing this song, and really like the song a lot! I hope I did it justice.
Best wishes to all.

Thank you @Edling for submitting the band's song. Nice track. Truly enjoyed working on it. @Mister Fox, thank you for keeping it together.

https://drive.google.com/file/d/1VSiftR ... sp=sharing

My mix objectives: density, clarity, depth, and power... yet maintain the flow

BASS: compression, eq
----- sansamp parallel (feed from clean track)
--- bass_amp: lowender
DRMS: eq, compression
--- kick:eq
----- parallel compression
--- snr: eq, compression
---- snr tom and bottom: transient controller
----- snr fx: non-lin; add plate for choruses
--- toms: eq, compression, transient control, room, plate
---- hi and low tom: eq, transient controller
----- parallel compression for toms
--- cymbals: eq, lo-fi
---- hats and overhead: jjp-cymb-perc
--- amb: jjp-cymb-perc
GTRS: compression
--- G1 (crunch and dist): eq, compression, spring rev
--- G2 (tremolo and wah) eq, compression
---- tremolo: tube DI, spring rev
--- G3 (acoustic and solo) eq
---- acoustic: eq, compression
---- solo: eq
KEYS: eq
--- lead: eq
--- mellotron: eq
--- strings: eq
LV: tape simulator with dolby A
----- plate
--- lead: compression, eq, deesser
--- bg verse : compression, eq
BG: compression, eq, tape simulator with Dolby A, widener

This is my take on this lovely song

MC102__TheLastHours__ThePersonThatYouSee__filipandrei

MIX BUS - SSL Compressor, 4:1 Ratio, Attack 10ms and auto release, aiming for no more than 2 - 4db of gain reduction

DRUMS / PERCUSSION - UAD Distressor with 6:1 ratio, squeezing about 4-7db compression with a reasonably slow attack and a fast release, followed by an Avalon VT-737 with a bit of top end and small boost on 60Hz.
I also have some parallel compression for drums with a Neve 33609 and another one with a FATSO for some punch and Tape emulation

BASS Spliting it in highs and lows. Choosing a strong compression ratio for the low-lows, to keep this under control ( Avalon VT-737 )

GUITARS BUS - Mild compression with an LA-3A and, followed by SSL 9000J console for a narrow 360hz boost and a bit of 10KHz

KEYBOARDS SSL 9000j console with a bit of air EQ and HP around 80Hz, just THD cranked for some harmonics

VOCAL BUS - Started with some DeEsser / SSL 9000J for a bit of air and 10KHz clarity / LA-2A for some compression and finishing with a 902 DeEsser plugin.
I also have some effect sends to a Slap Delay (Valhalla Delay 90ms) / UAD Lexicon 224 on Plate Setting with no Bass and very low Mid reverb time and 20ms pre-delay and Convology XT with some IRs from PastToFutureReverbs (CLA 480 Vocal Plate 5 IR).

Good luck, everyone

Hello, thanks to Mr. FOX and The Last Hours for this great song!
Here’s the link: https://drive.google.com/file/d/15KvRWq ... sp=sharing
Listen on Mackie and Ollo SX5
All tracks go through an SSL 4000-style channel strip
Drum ambiance & room mics: Heavy saturation + compression
Drum bus: Soft clipping + Vari-Mu compression
Rear bus: SSL bus compressor + stereo widener
Automation on the bass and lead vocal doubles during the choruses
Enjoy the mix!

Well if i have to say something it would be I focused on the emotion of the vocal. Underlying I looked at it as the strings were the sadness , Bass was the driving force to the silver lining that was the tambo and shaker. p.s. I added some optimism to the acc gtr during the vox and gtr alone part.

https://www.dropbox.com/scl/fi/kh8b4lt1 ... bfqas&dl=0

Hope everyone learned something and the song provider gets something useful.

Best of luck to all,
Pursgo