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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:

• About The Raw Multitracks:
  • The drums 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, and the main acoustic-guitar has mono close-mic and stereo ambient-mic tracks.
    
  • The main acoustic-guitar part features a mono close-mic track as well as a more ambient stereo mic rig.
    
  • Single tracks are provided for ukelele, harmonica, lead vocal, and backing vocal.
    

• Challenges You're Likely To Face:
  • The overheads have very pronounced transients, presumably on account of compression used during recording.
    
  • The lo-fi room mic makes the cymbals come across as very harsh.
    
  • A bass-amp has quite a lot of click-track spill on it, and a resonance around 90-100Hz which makes the musical line feel quite uneven. Some of the lowest bass notes lose level on their fundamentals too, on the DI signal as well.
    
  • Although the acoustic-guitar part sounds rather nice in general (and the multi-miking combines pretty well straight away), the pick-noise get a bit overbearing.
    
  • Both vocal parts have low-end spill which needs dealing with, and the lead also has quite a lot of room sound on it for an overdub.
    

• Some Mixing Tips: Although this isn't a mix I've attempted myself, here are some suggestions that come to mind:
  • Flip the undersnare polarity straight away -- the combined sound of the two mics will be very thin otherwise.
    
  • I think the snare spill on the hat mic sounds better than the snare close mics, so I'd be looking to try to make some use of it.
    
  • Threshold-independent transient processing is fantastic for situations like this overheads recording.
    
  • I'd probably gate the lo-fi room mic to provide just snare support, if I used it at all -- it feels a bit too rock-and-roll for this arrangement anyway, somehow.
    
  • Given that all the kit mics have significant spill on them, you should make a point of checking the polarity and phase of each for the best combination as you add it in.
    
  • The close tom mics have caught quite a bit of pitched sympathetic ringing from the drum, so be careful compressing those tracks to avoid pulling that aspect of the spill too high in the balance -- it can easily muddy the overall tone. (That said, a little tom ringing is actually quite a nice thing for tying a drum sound together, so don't necessarily just gate it out either.)
    
  • Careful EQ'ing should deal with that bass-amp resonance adequately, but if you want a more consistent low end, then multi-band compression of the DI signal is probably the easiest way forward. An automated low-pass filter can disguise the click-track bleed if you're careful.
    

If you have any other general questions about this multitrack, just reply to this post and I'll see what I can do.