02-03-2015, 11:59 PM
Hi and thanks for taking the time to listen & comment! Thank you for providing such a well recorded track (except that darn tuba, I hate that tuba 
)
No triggers or any fancy stuff really through out the mix. Mostly just simple EQ and compression on things. Though that tuba was a total pain and I will forever hate it. It seemed that pretty much no matter what I did with EQ and normal compression it kept coming through in a manner I did not like. Ended up using multiband compression more like a dynamic EQ. Took quite a bit of life out of it, but it serves the purpose in the track I felt it needed to.
The drums are pretty simple overall. EQ, Compression, and a little bit of transient designer stuff going on. Granted if you hear the toms solo'd they sound pretty much nothing like toms, but it is just EQ and compression on them. However, by leaving the Overheads and Drum Room mostly alone sounds that I got heavy handed with the processing of EQ and compression sound mostly how they ought to. And really with all the drum tracks I felt justified in giving the drums more sonic space than I probably should have.
The guitars have tons of added reverb. But really beyond that just EQ and even at that the EQ for the most part is simple LPF and HPF. A few of them I did get a little more heavy handed with the EQ, but mostly just LPF and HPF going on. The reason for that is most of the time with guitars I've noticed you can get them layered pretty easily by just using volume and pan. Sometimes to enhance clarity EQ is very handy. Bring up some compression to bring out the different transient characteristics a little more and really layering them is quite easy.
The orchestra bit is really trying to remember that is a rock track and not a classical piece and therefore bringing out the compressors is perfectly fine. Which is what I did a lot of.
Quite honestly about the fanciest thing I did was some sidechain compression on the bass for the kick. And that really is about as fancy as it got. A lot of the time a mix simply does not heavy handed processing to sound good.
Overall the approach to the mix was to make it a rockus symphonic crescendo if that makes any sense. Because once the track hits on it does not stop at all. It just keeps going forward with more and more. So, my intention was to try and make it sound that way.
)No triggers or any fancy stuff really through out the mix. Mostly just simple EQ and compression on things. Though that tuba was a total pain and I will forever hate it. It seemed that pretty much no matter what I did with EQ and normal compression it kept coming through in a manner I did not like. Ended up using multiband compression more like a dynamic EQ. Took quite a bit of life out of it, but it serves the purpose in the track I felt it needed to.
The drums are pretty simple overall. EQ, Compression, and a little bit of transient designer stuff going on. Granted if you hear the toms solo'd they sound pretty much nothing like toms, but it is just EQ and compression on them. However, by leaving the Overheads and Drum Room mostly alone sounds that I got heavy handed with the processing of EQ and compression sound mostly how they ought to. And really with all the drum tracks I felt justified in giving the drums more sonic space than I probably should have.
The guitars have tons of added reverb. But really beyond that just EQ and even at that the EQ for the most part is simple LPF and HPF. A few of them I did get a little more heavy handed with the EQ, but mostly just LPF and HPF going on. The reason for that is most of the time with guitars I've noticed you can get them layered pretty easily by just using volume and pan. Sometimes to enhance clarity EQ is very handy. Bring up some compression to bring out the different transient characteristics a little more and really layering them is quite easy.
The orchestra bit is really trying to remember that is a rock track and not a classical piece and therefore bringing out the compressors is perfectly fine. Which is what I did a lot of.
Quite honestly about the fanciest thing I did was some sidechain compression on the bass for the kick. And that really is about as fancy as it got. A lot of the time a mix simply does not heavy handed processing to sound good.
Overall the approach to the mix was to make it a rockus symphonic crescendo if that makes any sense. Because once the track hits on it does not stop at all. It just keeps going forward with more and more. So, my intention was to try and make it sound that way.