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About This Multitrack
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: This is an indie rock production based around a live full-band take I recorded on location in a large converted loft.
    • The main live take consists of nine tracks: stereo drum overheads; close mics for kick, snare, and toms (submixed rack, floor); bass DI; two guitars; and a stereo room. One additional guitar overdub was recorded on the same session.
    • Three additional guitar overdubs were provided as DI signals, and some sections of those are reamped on three further tracks.
    • Two edited stereo synth overdubs are included.
    • The remaining six tracks are vocals, comprising a single main lead vocal, a chorus double-track, and two double-tracked backing-vocal lines.
  • Challenges You're Likely To Face:
    • There's a lot of spill on all the live-take mics, which means you don't get as much independent control over the sounds as you might expected from a primarily overdubbed production. Phase-relationships are also critical in this context.
    • If you want to pursue the same kinds of disco-influenced sounds as can be heard on the preview mix, then you'll have to do a lot of work with gating and sample-replacement to dry things up that much during certain sections of the song. The lack of a hi-hat mic may also cause difficulties in that context.
    • The level of hi-hat spill on the snare mic is quite high, and may interfere with your balance if you don't manage it in some way.
    • Although the DI'ed guitar signals give you the freedom to design any guitar sound you want, that does put the onus on you to make those decisions.
    • The synth parts have some printed-in stereo delay effects, and they also present some difficulties when it comes to blending all the tracks into a cohesive band sound.
    • The lead vocal's mic choice for the verse wasn't ideal, so it's easy to end up with a harsh and/or woolly sound.
  • Some Mixing Tips:
    • Although there's more spill on these tracks than you may be used to dealing with, the mics were set up with the spill in mind, so don't immediately start gating everything otherwise you'll almost certainly throw the baby out with the bathwater.
    • Make sure you take the time to experiment with any polarity and phase adjustment measures you have at your disposal, because they have the potential to make enormous differences here.
    • Compressing the snare with an HF boost in the compressor's side-chain is quite helpful for taming the hi-hat spill.
    • Some amp simulation and/or distortion can help to fill out the subjective bass tone and blend it in with the rest of the band.
    • Make a point of multing the live-take guitars, otherwise you'll struggle to get good long-term dynamics between the different sections of the song. Also, don't forget to consider automating the drum overhead and room mics.
    • You'll almost certainly want to apply some kind of frequency-selective dynamics processing to the lead vocals in order to pull up the 'air' frequencies without tearing people's ears off with the consonants and sibilance.

If you have any other general questions about this multitrack, just reply to this post and I'll see what I can do.
Just a quick update to this one: the recording sessions for these three tracks were featured in this Sound On Sound magazine 'Session Notes' article, and you can also see video footage from the session on the Stewis Media site.