22-06-2012, 11:38 AM
You can find the multitrack files for this project in the 'Mixing Secrets' Free Multitrack Download Library.
Here's some more project info you might find useful:
If you have any other general questions about this multitrack, just reply to this post and I'll see what I can do.
Before posting a mix, please read The Three Commandments!
Please post your mix as a new thread, rather than as a reply to this sticky.
Please post your mix as a new thread, rather than as a reply to this sticky.
Here's some more project info you might find useful:
- About The Raw Multitracks:
- The only percussion part in this mix is a hi-hat. Otherwise all the rhythmic interest derives from arpeggiator-style synths.
- The synth tracks include: four bass parts; five upper arpeggiations; three pads; eight lead parts; and five tracks of transition effects. In addition there's a fairly understated mono organ pad through much of the track.
- The only percussion part in this mix is a hi-hat. Otherwise all the rhythmic interest derives from arpeggiator-style synths.
- Challenges You're Likely To Face:
- With so many bass parts on the go, you'll have to stay disciplined with your EQ and dynamics processing if you're going to keep the low end under control.
- Some of the synth parts change role for some sections of the time-line, which may necessitate changes in processing.
- Although the tracks are mostly pretty dry-sounding, there are some filter sweeps and stereo modulation effects which may cause balancing difficulties at some points in the arrangement.
- Keeping a sense of separation and contrast when all the sounds are synthetic (and mostly from the same software synthesizer: Admiral Quality's Poly-Ana) may require more work than normal in terms of designing ear-catching effects for each different major track, especially the lead lines.
- With so many bass parts on the go, you'll have to stay disciplined with your EQ and dynamics processing if you're going to keep the low end under control.
- Some Mixing Tips:
- If you want to make life easy for yourself, then decide which bass line is providing the sub-100Hz welly at any given point, and high-pass-filter the rest. Alternatively, you could try containing the low end after mixdown with low-frequency compression at mastering, but personally I think that's just passing the buck.
- My first choices for differentiating the different lead-synth sounds would probably be amp-simulation, tonal reverbs, and mad modulation effects -- it's not often that a production gives you enough space to really go to town with the latter option, so I'd make the most of it myself!
- Some of the synth parts would be worth multing, especially where filter settings are different for different sections.
- Careful not to add too much reverb, especially to pad-like parts -- it's a recipe for an ill-defined and murky mix. If you're going to have a good sense of depth, then you need things at the front as well as things at the back.
- If you want to make life easy for yourself, then decide which bass line is providing the sub-100Hz welly at any given point, and high-pass-filter the rest. Alternatively, you could try containing the low end after mixdown with low-frequency compression at mastering, but personally I think that's just passing the buck.
If you have any other general questions about this multitrack, just reply to this post and I'll see what I can do.