The Well Mixed by Doug

[dcp10200]

This is a pretty tricky mix, in the Read Me file the tempo isn't included but it does seem to be locked to a grid. Also the snare rolls seem to have a strange robotic pattern to them even before I re sampled them. The overheads have a couple of weird edits in them (the sustain of the cymbals sounds like it's being stretched and had a crossfade on the edit in an attempt to make it less noticeable, could also be some form of Elastic Audio as well). That being said, it's not impossible to get a decent sounding mix out of and having the DI bass and guitars opens up some possiblities in getting tones.

So far I've gotten a balance and overall tone going, some automation on the snare rolls, low end of the kick during the double kick sections, and some vocal riding. It's in a place where I can revise some eq moves, work with levels, and possibly back off a bit of compression on the mixbuss. Overall, I'm aming for something along the lines of Motormouth by Periphery with the guitars, bass, and drums, personally I'm not a big fan of the vocals (more of a Randy Blyth, Jens Kidman, and Spencer Sotelo kind of guy), but they do fit the track atleast.

Cheers,
Doug

Update: I went back and made some tweaks to the mix, the guitars now have a darker, more high gain tone to them and are automated to help them sit better with the vocals, I realized that when I printed my samples that they were in mono so they didn't have the width and space I was looking for but did give the snare some beef, so I exxagerated my deicated snare verb more to more closely match the Periphery track. I lowered the high pass on the Bass Fx track so that it fi better with the DI Bass.

Update 2: I scrapped my first mix and used new samples for the drums (this time with stereo room mics and overheads) and revamped guitar and bass tones. This time I think I'e managed to get closer to my reference track.

[Digitaldruglord]

You nailed this, it's excellent. On discretion I think you could go a small tiny bit brighter on high mid on the global master, or you could keep it right where it is.

[kapu]

Listened your mix, and that Motormouth song. If you're aiming there, you should probably add some room to your snare. If the sample library you used has a separate room track/sound for the snare, I suggest you use it boldly. Also, the main guitars could be darker. LR-panned distorted guitars have a way of masking and 'clashing' with pretty much everything, so I'd suggest cutting away the highs as muchs you dare without making them totally muffled. This also has a nice side effect of 'opening' the mix so you don't have to struggle with separation or 'clarity' too much. It's a great mix already, by the way, so you don't necessarily have to change anything. ^_^

[dcp10200]

You nailed this, it's excellent. On discretion I think you could go a small tiny bit brighter on high mid on the global master, or you could keep it right where it is.

Thanks DDL, I may go back and do another ground up mix on this, after listening back to this, the snare doesn't really have the impact of Nolly's mix. Guitar wise with my new mix I think I'm pretty close, and bass wise the stock tone really seemed to line up with Nolly's default tone.

Cheers,
Doug

[dcp10200]

Listened your mix, and that Motormouth song. If you're aiming there, you should probably add some room to your snare. If the sample library you used has a separate room track/sound for the snare, I suggest you use it boldly. Also, the main guitars could be darker. LR-panned distorted guitars have a way of masking and 'clashing' with pretty much everything, so I'd suggest cutting away the highs as muchs you dare without making them totally muffled. This also has a nice side effect of 'opening' the mix so you don't have to struggle with separation or 'clarity' too much. It's a great mix already, by the way, so you don't necessarily have to change anything. ^_^

Thanks Kapu, I discovered that I rendered the Room and Overhead Mics out in mono after listening back, they were adding some beef to the snare but not the width and roominess that the Nolly Mix has in it, the snare sample in general is also not really that close to the Periphery track so I might just end up using a different sample for the next version I make. I did end up making the guitars abit darker sounding in the Master 2 version, still I prefer the harsher tone of the first mix, I guess I just like snarling sounding guitars

Cheers,
Doug

[andrew0v]

This is a pretty tricky mix, in the Read Me file the tempo isn't included but it does seem to be locked to a grid. Also the snare rolls seem to have a strange robotic pattern to them even before I re sampled them. The overheads have a couple of weird edits in them (the sustain of the cymbals sounds like it's being stretched and had a crossfade on the edit in an attempt to make it less noticeable, could also be some form of Elastic Audio as well). That being said, it's not impossible to get a decent sounding mix out of and having the DI bass and guitars opens up some possiblities in getting tones.

So far I've gotten a balance and overall tone going, some automation on the snare rolls, low end of the kick during the double kick sections, and some vocal riding. It's in a place where I can revise some eq moves, work with levels, and possibly back off a bit of compression on the mixbuss. Overall, I'm aming for something along the lines of Motormouth by Periphery with the guitars, bass, and drums, personally I'm not a big fan of the vocals (more of a Randy Blyth, Jens Kidman, and Spencer Sotelo kind of guy), but they do fit the track atleast.

Cheers,
Doug

Update: I went back and made some tweaks to the mix, the guitars now have a darker, more high gain tone to them and are automated to help them sit better with the vocals, I realized that when I printed my samples that they were in mono so they didn't have the width and space I was looking for but did give the snare some beef, so I exxagerated my deicated snare verb more to more closely match the Periphery track. I lowered the high pass on the Bass Fx track so that it fi better with the DI Bass.

This is really good i just think that the drums are a little off apart from that its practically spot on

[dcp10200]

New Remix in the OP

[dcp10200]

This is really good i just think that the drums are a little off apart from that its practically spot on

Thanks Andrew! Listening back it really is missing the impact of Nolly's mix. The snare really doesn't have that crack to it that's in the Periphery track, and the guitars have some weird resonances in the mids and lack the low end punch of Misha and Mark's tone. Ended up going with a different snare sample, less processing on the toms and a different reverb (Verbiage by Stillwell, Nolly uses this reverb alot on his mixes) blended with my usual Waves RVerb. I ended up using The Nick Crow Labs 8505 amp sim with TSE Audio's TS 808 Emulation and Rosen Digital Pulse IR Loader for the guitars, this got me way closer to the sound Misha Typically uses.

Cheers,
Doug

[andrew0v]

This is really good i just think that the drums are a little off apart from that its practically spot on

Thanks Andrew! Listening back it really is missing the impact of Nolly's mix. The snare really doesn't have that crack to it that's in the Periphery track, and the guitars have some weird resonances in the mids and lack the low end punch of Misha and Mark's tone. Ended up going with a different snare sample, less processing on the toms and a different reverb (Verbiage by Stillwell, Nolly uses this reverb alot on his mixes) blended with my usual Waves RVerb. I ended up using The Nick Crow Labs 8505 amp sim with TSE Audio's TS 808 Emulation and Rosen Digital Pulse IR Loader for the guitars, this got me way closer to the sound Misha Typically uses.

Cheers,
Doug

Low and middle end attack and gating is key to nice string articulation unfortunately it also helps if the guitars are played more agressively

[dcp10200]

Low and middle end attack and gating is key to nice string articulation unfortunately it also helps if the guitars are played more agressively

Gating really isn't "the key" here, the DIs do not have the sudden cut offs in the playing for the majority of the track, it it obvious that the sections that have those Djent passages already are either 1. Edited 2. Already Gated or 3. Actually played like that. I'e tryed all manor of gating to the same effect, it makes little to no difference and does not improve or enhance the guitars, (judging from your mix it didn't give you much more "attack" either ). Sorry if this comes off as rude, in this situation it really comes down to the playing of the instrument, gating this just leaves you with flubby guitars that cut off oddly tight.

Cheers,
Doug