20-07-2012, 11:27 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.
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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 drums have been recorded without any spill from other instruments, and the mics include stereo overheads and close mics for kick, snare, hi-hat, and two toms. Supplementing these are four mono tracks of MIDI percussion: cowbell, congas, shaker, and tambourine.
- The bass is a single DI track.
- The rest of the arrangement is filled out with four synth parts (three stereo and one mono); an amped electric guitar; stereo hammond; and two mono electric pianos.
- The drums have been recorded without any spill from other instruments, and the mics include stereo overheads and close mics for kick, snare, hi-hat, and two toms. Supplementing these are four mono tracks of MIDI percussion: cowbell, congas, shaker, and tambourine.
- Challenges You're Likely To Face:
- Neither kick mic has a tremendous amount of low end.
- The snare close-mic has a couple of fairly strong pitched resonances, although whether you decide that's a problem or not depends on you.
- The overheads mics don't catch a particularly pleasant tone for the cymbals.
- The bass part is extremely wide-ranging, both in terms of pitch and performance techniques, which presents considerable mix-balancing challenges.
- There's a touch of quite long printed reverb on the hammond organ.
- The bone-dry bass and electric parts won't blend with the drums without some careful reverb/delay work.
- Neither kick mic has a tremendous amount of low end.
- Some Mixing Tips:
- I'd probably add at least 6dB of 70Hz to the outside kick-drum mic here, although I'd twin that with a high-pass filter to prevent the subs from smearing the details of such a sprightly part.
- The snare mic's 510Hz resonance is in tune with the track, but I'd probably still dip it with a narrow peaking filter myself.
- If the cymbal tone concerns you, then try adding in some samples -- there aren't many hits in there, so it shouldn't be a big job. The alternative is to EQ the overheads for a better cymbal tone, but this will impact on the nice snare sound coming through the overheads, and you don't have a particularly nice snare close-mic to bail yourself out with either, so I wouldn't recommend that approach here personally.
- For some general tips on using reverbs and delays to bind together a mix like this (rather than as special effects), have a glance at this article -- this multitrack is exactly the kind of production that tends to suit the article's approach.
- I'd probably add at least 6dB of 70Hz to the outside kick-drum mic here, although I'd twin that with a high-pass filter to prevent the subs from smearing the details of such a sprightly part.
If you have any other general questions about this multitrack, just reply to this post and I'll see what I can do.