You can do better. The guitars are very muddy and the tapping solo at the start sounds distorted - in a wrong way. Like it was run through a broken radio or so. the vocals sound like they are in a tiny room, and the drums sound like they are in a different room.
try this: mix this song with just drums, bass (hint: kill the fizzy highs on the bass), the two rhythm guitars and vocals and completely ignore the rest. Don't choose a shitty room reverb for the vocals - this is not the genre for small stuff. Go for a bright plate or try a medium hall. Make the rhythm guitars loud but leave room for the bass. you can help the bass a lot if you push 10 or more db at 750 hz. use your ears and ignore the numbers - add enough 750 hz until the bass really sits underneath the guitars. you have to hear the bass in the mix at that spot and there should be a hole in that region when you mute the bass. imagine a V-shape with the bass at the bottom and the guitars to the left and right upper corner. try to place the vocals in the middle of that V - slightly above the guitars. But don't make them harsh because they are allready very thin and noisy.
If you have the bass and the guitars in the right place, mute everything, solo the kick and check your meters on the stereo bus. unmute the bass und move the faders of the bass AND rhythm guitars (they are still muted but that's okay) until kick and bass together are 3 db louder on the meter then the kick alone. 99% of the time that's the perfect balance. here is a video explaining this - it works for almost every genre:
https://www.youtube.com/watch?v=ECRx4WF3pcc
now add a bus compressor on the stereo bus (an SSL bus comp is great for this), mute the bass again and set the release to fast and the attack to medium/fast with a ratio of 4:1 and dial in 1db of compression with only the kick playing. don't use double kick patterns for this - look for a groove with single kick hits. Pro tip: use automation to bring down the kick volume in double kick passages because double kick stuff normally causes too much buildup in the lows. you can also use MB compression on the lows to control this but I prefer doing it with automation because you have full control over it.
back to the stereo buss compressor: if you have the kick hitting the bus comp with 1db go mute the kick and unmute the snare. bring up the fader of the snare until you have 3db of compression with every snare hit and make sure you have still 1db compression with every kick hit. now unmute kick, snare, bass and guitars and they all should be in a very good spot and well balanced with each other. if the guitars are too loud or too quiet just balance them against the bass but don't touch the bass, kick or snare fader. only adjust the volume of the guitars. bring up the room and overhead faders until they feel right and now try to completely focus on the groove of the song and bring it to life before you start to add the other stuff. use compression to enhance the groove, not kill it. use a top down method for eq and start with the master bus first, then eq the busses for drums, guitars, bass, vocals and THEN eq single tracks. use a lot of volume automation if stuff is too loud or too quiet in some parts.
pro tip: use a limiter on bass, guitars and vocals. guitars need to be a wall of sound so let them hit the limiter moderately. don't squash them 'til they distort in an unpleasant way - thats too much. same goes for bass (you can be more aggressive here) and vocals too. the reason behind this is that this song doesn't need a lot of dynamics for those elements. you want to get the maximum amount of power and you will only get a "larger then life" sound with limiting the guitars and bass. don't limit the drums though - use a clipper instead to make them loud. you don't want to kill all the transients.
Btw here is an instrumental version of this song - check the levels between kick, snare, bass and rhythm guitars: http://discussion.cambridge-mt.com/showt...?tid=17076
try this: mix this song with just drums, bass (hint: kill the fizzy highs on the bass), the two rhythm guitars and vocals and completely ignore the rest. Don't choose a shitty room reverb for the vocals - this is not the genre for small stuff. Go for a bright plate or try a medium hall. Make the rhythm guitars loud but leave room for the bass. you can help the bass a lot if you push 10 or more db at 750 hz. use your ears and ignore the numbers - add enough 750 hz until the bass really sits underneath the guitars. you have to hear the bass in the mix at that spot and there should be a hole in that region when you mute the bass. imagine a V-shape with the bass at the bottom and the guitars to the left and right upper corner. try to place the vocals in the middle of that V - slightly above the guitars. But don't make them harsh because they are allready very thin and noisy.
If you have the bass and the guitars in the right place, mute everything, solo the kick and check your meters on the stereo bus. unmute the bass und move the faders of the bass AND rhythm guitars (they are still muted but that's okay) until kick and bass together are 3 db louder on the meter then the kick alone. 99% of the time that's the perfect balance. here is a video explaining this - it works for almost every genre:
https://www.youtube.com/watch?v=ECRx4WF3pcc
now add a bus compressor on the stereo bus (an SSL bus comp is great for this), mute the bass again and set the release to fast and the attack to medium/fast with a ratio of 4:1 and dial in 1db of compression with only the kick playing. don't use double kick patterns for this - look for a groove with single kick hits. Pro tip: use automation to bring down the kick volume in double kick passages because double kick stuff normally causes too much buildup in the lows. you can also use MB compression on the lows to control this but I prefer doing it with automation because you have full control over it.
back to the stereo buss compressor: if you have the kick hitting the bus comp with 1db go mute the kick and unmute the snare. bring up the fader of the snare until you have 3db of compression with every snare hit and make sure you have still 1db compression with every kick hit. now unmute kick, snare, bass and guitars and they all should be in a very good spot and well balanced with each other. if the guitars are too loud or too quiet just balance them against the bass but don't touch the bass, kick or snare fader. only adjust the volume of the guitars. bring up the room and overhead faders until they feel right and now try to completely focus on the groove of the song and bring it to life before you start to add the other stuff. use compression to enhance the groove, not kill it. use a top down method for eq and start with the master bus first, then eq the busses for drums, guitars, bass, vocals and THEN eq single tracks. use a lot of volume automation if stuff is too loud or too quiet in some parts.
pro tip: use a limiter on bass, guitars and vocals. guitars need to be a wall of sound so let them hit the limiter moderately. don't squash them 'til they distort in an unpleasant way - thats too much. same goes for bass (you can be more aggressive here) and vocals too. the reason behind this is that this song doesn't need a lot of dynamics for those elements. you want to get the maximum amount of power and you will only get a "larger then life" sound with limiting the guitars and bass. don't limit the drums though - use a clipper instead to make them loud. you don't want to kill all the transients.
Btw here is an instrumental version of this song - check the levels between kick, snare, bass and rhythm guitars: http://discussion.cambridge-mt.com/showt...?tid=17076