You can find the multitrack files for this project in the 'Mixing Secrets' Free Multitrack Download Library
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.
Here's some more project info you might find useful:
- About The Raw Multitracks:
- The drum tracks include stereo overheads, two mono room-mic signals (one lo-fi processed), and close mics for kick (in, out), snare (over, under), hi-hat, and two toms.
- Bass is available as DI and miked-amp signals, with single tracks for ukelele, electric guitar, flute, and lead vocal.
- Challenges You're Likely To Face:
- The snare mics don't seem to have a very promising phase-relationship on the raw multitrack, yet flipping the polarity button feels like a definite step in the wrong direction. The overheads also have very little snare ambience in them to fill out the drum's tone.
- The resonances of the bass amp are compromising the low-octave consistency of this bass line.
- The ukelele and flute mics both have quite a lot of bass spill on them, and the lead vocal has a little of both the bass and (more problematically in some circumstances) the click.
- The flute tone's lovely breathy quality seems to have derived from fairly close miking, but that does mean that the levels of the player's breaths themselves may bother you, especially if you compress things any further.
- The vocal is a beautiful thing to listen to, but does suffer from rather strong sibilance.
- Some Mixing Tips: Although this isn't a mix I've attempted myself, here are some suggestions that come to mind:
- For the snare drum mics, I'd experiment with timing offsets and maybe even phase rotation to try to get a more solid tone.
- The hi-hat close mic only appears to have a single hat strike right at the end of the track. As such, you could use it as an extra overhead/spill mic, or even a ride close mic. If the stick noises are over-prominent for you (there's no shortage of ride in the main overheads), then some transient reduction might come in handy.
- If you're going to get the best out of all these optional spill mics, you should make a point of checking the phase of each as you add it in.
- Although the bass amp is troublesome in the low regions, the DI feed is nice and consistent, so I'd personally highpass filter the amp and leave the note fundamentals in particular to the DI.
- The close tom mics appear to have no tom hits on them at all! Again, these could operate as additional overhead/spill mics. You might prefer to notch out some of the pitched ringing on each track, but that depends how high those faders are in the mix -- a little tom ringing is actually quite a nice thing for tying the sound together.
- I'd use automation to ride down those flute breaths a bit.
If you have any other general questions about this multitrack, just reply to this post and I'll see what I can do.