05-02-2017, 05:48 PM
I made another remix of this track, the bass in the Remix 1 version is basically inaudible and is just dominated by drums and guitar kinda like a pop punk version of And Justice For All 
. This time I used Paramore's That's What You Get as a reference for an overall balance and tone, it's by no means exact but it seems to have a similar character.
The trick here is trying to get an explosive sound without having it be too punchy and not having enough control. Modern pop rock recording use more and less compression than you think to deal with this and in different areas than you might expect, the drum bus on this mix for example has an upward and downward compressor on it to bring up the sound of the room and sustain without having it go over the top and freak out the master buss. There's also a limiter on the drum bus to keep the louder drum fills at bay.
The bass uses a multi band compressor on the sub 100 Hz area just to keep it from poking out and a limiter on the 800 Hz range to keep the attack under control and consistent in the mix. It also has some parallel distortion to keep it glued to the guitars and add some grind when it's by itself and a limiter to keep it locked in.
The dirty rhythm guitars needed some scooping in the 400 Hz range with a little multi band compression to make it fit nicer with the bass. After that I used a tube style compressor, it wasn't pulling gain out,it just was being driven hard to smooth out the top end with it's saturation on it's input stage. Finally a limiter to keep them tight.
Overall this version seems to be miles better than my original mixes and fits the band better. Either way I'm happy with this new version, I might tweak it later on though.
Cheers,
Doug
. This time I used Paramore's That's What You Get as a reference for an overall balance and tone, it's by no means exact but it seems to have a similar character. The trick here is trying to get an explosive sound without having it be too punchy and not having enough control. Modern pop rock recording use more and less compression than you think to deal with this and in different areas than you might expect, the drum bus on this mix for example has an upward and downward compressor on it to bring up the sound of the room and sustain without having it go over the top and freak out the master buss. There's also a limiter on the drum bus to keep the louder drum fills at bay.
The bass uses a multi band compressor on the sub 100 Hz area just to keep it from poking out and a limiter on the 800 Hz range to keep the attack under control and consistent in the mix. It also has some parallel distortion to keep it glued to the guitars and add some grind when it's by itself and a limiter to keep it locked in.
The dirty rhythm guitars needed some scooping in the 400 Hz range with a little multi band compression to make it fit nicer with the bass. After that I used a tube style compressor, it wasn't pulling gain out,it just was being driven hard to smooth out the top end with it's saturation on it's input stage. Finally a limiter to keep them tight.
Overall this version seems to be miles better than my original mixes and fits the band better. Either way I'm happy with this new version, I might tweak it later on though.
Cheers,
Doug
Mixing is way more art and soul than science. We don’t really know what we’re doing. We do it because we love music! It’s the love of music first. Eddie Kramer
Gear list: Focusrite Scarlett 18i20, Mbox Mini w/Pro Tools Express, Reaper, Various plugins, AKG K240 MKii, Audio Technica ATH M50x, Yorkville YSM 6
Gear list: Focusrite Scarlett 18i20, Mbox Mini w/Pro Tools Express, Reaper, Various plugins, AKG K240 MKii, Audio Technica ATH M50x, Yorkville YSM 6