-Drums used two different compressors: 1176 and H-Comp. Just mix to taste.
-Bass was the given wav file, since the BPM of the song given didn't match with the MIDI of the bass tracks (and the MIDI drums...more on that later)
-Guitars were reamped, since the tracks were lacking bite in the highs.
-Orchestal parts were cool (and bone stock, save for the strings), but I felt was a bit too jarring coming into the bridge part. I added the MIDI drum part that was misaligned, processed it all to hell, then panned it. It sounds pretty cool, if I do say so myself.
-Mastering was just EQ to snuff out the mud and some L1 to give it some punch.
Hey brandon. What i liked in this mix was the guitartones, they have a nice sustain in the low mids. The drums feel a bit hidden, especially the snare at the intro and during the blastbeats. Kick is audible but mostly in the click, needs to come up in volume and get some bassboosting in my headphones. Very interesting, i hear that you kept the drums in the right channel during the brake, was that intentional? I adressed the issue with snare volume by cutting that super spiky snare hit that occurred after the snare "roll" to gain some volume. I think you can cut the track and make a dupplicate to gain it where is needed also.
Thanks for the feedback. I can hear the snare stuff when he comes in through the blast beats a bit more. In hindsight, I think that I should have thrown an L1 on that track to bring out the 16th note blast beats a bit more. The drums in the right channel was intentional. It was the MIDI drums, just immensely processed and panned right. Just a little experiment I did and I thought it sounded cool. The kick was bone stock, save for some parallell compression, so I was afraid of adding way too much mud to the mix and then bouncing the mix to master to fight with the low end. I can defilitely hear the clicky-ness of the kick, and I'll try some methods of getting some low end without getting a whole bunch of mud.
Yes thats a good call, a brickwall or a clipper. Sometimes the bottom snare mic helps with that alot. I see haha ye i like experiments it was an interesting move. Would totally have worked with those drums in that part. Yes, try to give the kick some like staleness before u go into a transient-designer of some sort, when you got every hit smacky and stale you can then bring back some bass afterwards. Alternatively you can try to eq bass into a transientplugin or have one that acts on the bottom frequencies. It can sound really weird but cool sometimes if you have to much bass transients , it often sounds rad but brings alot of problems in the mix. But i think since bass should be a bit more stale in the bass most of the times i think this is what to aim for, BUT this arrangement had a pretty "chuggy" bass instead so yea, it was a challange for sure.
Huh...putting a transient designer on the bass...that seems like it could be good, but since I've never done that, I will experiment. Thanks for that tip!
I ment more like, to get even transients on the kick you want to start to clip it, the kick*. After you do that you put a transient designer on it. After that you might have lost alot of lowend / bass in the process so you will probably hav eto bring some back into the kick with eq. What i ment is, sometimes you can also eq the lowend into the transient designer, meaning you put the equalizer before the transientdesigner plugin.
