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Hannes Keseberg - YouKnowBetter_3ee mix2
Great additional info 3ee -- thanks for posting that!

Rhythm GTRs:

Important part of the song but it got a bit repetitive so I had to do some delay send automation to different timed delays in this case to add interest.

Mic1 to the L, Mic2 to the R and Mic3 center but made stereo to some extent.

Mic1 and 2 got corrected in tone a bit to balance the stereo image.
Mic3 has a HP filter @ 7300Hz to tame the transient-tone and a stereo-maker effect (always check these in mono) followed by a subtle phaser type effect for more movement.

These go to the The RHYTM GTRs sub-bus which has the most processing and sends..

Eq and dyn-eq to thin it out a bit and tame transient, a bit of compression to keep dynamics under control followed by an aggressive limiter doing 4-5 GR otherwise it was too peaky in the mix, then tape for saturation-compression-glue and color-tone (I use u-he Satin most of the time especially when I need more flexibility ) , then a subtle slow chorus mainly for more stereo image and a bit of movement.

As for sends: -12st pitch shifter for more weight, stereo maker plugin to push it more to the sides, non-lin and spring reverbs more for a sense of early reflections and character from that spring, then 3 delay sends which I automated the levels: 1/16 , 1/8 and 1/8 dot.

Electric DI 2:

EQ for shaping the tone to thin it out and tilt more towards to the high-mids and highs, fast release but slow attack compressor doing 3-4 GR tops followed by a smooth compression for steady level and color (it's a slightly obscure VCA comp, not the LA-2A if you're wondering Wink ) , then a bit of drive-saturation to go into a GTR amp which changes the tone quite a bit so from here on I added processing to fit the new tone in the mix... an eq and dyn-eq to control the low-mids and the high-mids, a bit of stereo-maker processor to push it to the sides a bit and lastly a limiter doing 3-4 dBs GR tops as it was a bit to pokey in the mix.

many sends most notably: stereo-maker, warm chorus, plate, short doubling delay, 1/16 SB echo, 1/8 del etc... I also have something more special made especially for this... it's a +1 oct grain-pitch-diffused delay to give a blurred trail in the background, more like a pad generated from the gtr.

Lead Pairs group:

These are the ElectricGTR 3 mics panned respectively..

Processed similar to the Rhythm GTR tracks to a point... but since they play more or a lead part, had to 'butcher'/control the high-mids for resonances a bit more from about 2 to 4.5 k, the GTR amp is on a different model with more gain

The sends are very similar to the GTR 2 but added some more like 1/4 delay and hall reverb for example

The group has a parallel aux track named "Lead Pairs Smash" which is an aggressive compressor to catch all the notes and blended in at lower volume.

Piano: Processed it as layer for the rhythm gtrs... eq to thin it out and boost a bit of high-mids for more presence, compression to keep it in place as it was a bit too dynamic and quite a few sends but mainly to chorused-doublers and chorus and reverb of course.

Organ: Had a bit of a problem fitting this one in because if I put it too hot it interfered with the vocal and gtrs too much and too low it didn't had the needed energy sustain for the different parts so had to find a compromise.

Shaped it as a filler to mold with everything else, then a bit of compression for more density, slow phaser for movement and stereo width control to push it towards to sides some more.
as sends: -12st pitch shifter for more power, hall and that +1 octave diffused delay used on the gtr leads to add somewhat of a pad layer to it.

to be continued...

Lead Vocal: a bit of eq to clean it up and tame the low mids a bit, exciter to open up clarity, multi-band comp to correct 'unstable' mic distance and pull the dynamics more together in a more transparent way, relatively fast compressor doing about 5 dB GR tops (vocal track volume has been manually corrected to some extent prior to processing), de-esser, smooth-vintage type VCA compression for color and level and a different smooth vari-mu type compressor mainly for color.

LD Vocal has a LD density aux parallel blended in a lower volume featuring some heavy compression, limiting and de-essing. This is so the vocal is fitting perfectly in the mix and every word is heard while not giving the feeling of over-compression in total.

Backing vocals 1+2 are used to give a nice stereo image, layered a bit underneath the LD vocal has an eq filtering the lows and very-highs and giving more high-mids, compression to control the dynamics and tone.

Bk vocals have some sends to hall, 1/16 slap-back and 1/4 delay

Backing vocals 3+4 have some eq to filter out mainly some lows and compression individually and on their group: loads of smooth LA3A compression for level and color and then a bit more tonal correction to fit them better in the mix.

As sends, they have a stereo-maker, non-lin reverb mainly for early-reflections and 1/4 delay.

Whistle tracks have a lot of filtering cleaning up the lows mainly and compression doing about 3 dB each .. as for sends they go to: spring, hall, 1/16 slap and 1/4 delay

All vocals go to a Vocals bus which had a bit of eq and dyn-eq to control the tone and fit it better in the mix and two types of compression; one for a tighter control and the other of overall level and color.

Vocals bus sends: warm chorus, "vibrant" ensemble chorus, plate, 1/32 slap, 1/16 slap.

Now it's time to talk about 2bus processing and mastering

Before going to the 2bus, I have an "ALL DENSITY" parallel track where all groups/buses are going to which has harder yet still good sounding compression and limiting... basically, I blend this in until I hear the mix gluing together and sounding more "like-a-record" being careful not to over-do it of course.

This all density track is sending a bit to a "Master reverb" which is very short, more for a diffused stereo image... very subtle move but noticeable.

On the master 2bus:

I have M/S eq and dyn-eq to control the overall sound a tiny bit (mostly 1-2 dB) and HP LP 'brackets'

SSL G-Bus comp to control the overall dynamic in a smooth yet precise way doing 2 dB GR tops (this was added after my initial levels and filters were set, so let's say it was added at the 20-30% mix done mark, I always like to mix into a bus compressor) , A bit of multi-band comp, tape for color and saturation-glue, Pultec EQP1 for color and a touch of tone to open up after all this compression .. and finally, a very transparent limiter doing 0.9 dB clipping and about 1-2 dB GR tops