Here’s a lengthy little beast from the CMT site that I mixed to keep my hand in. (Called “Sugar-Faith” by the band Forkupines)
I actually found it pretty challenging, as it goes through a lot of different changes. Anyhow, here’s my go at it - let me know what you think if you get a chance to listen! Thanks.
Sounds really good at first glance! I’ll give it a more thorough listen tomorrow 
Cool, thanks Jonathan! 
Listening as I type and this is sounding really good to me! I mean - REALLY good! I like the delays @ 2 minutes or so and love the bass.
Ok, in the next section, the clicky kick is kind of poking out to me. Around 4:30 and after. (?) It’s really like this is another song, and they kind of went from heavy to pop/rock. Maybe it calls for slightly different drum treatment on this section? When everything gets going again, like 6:18ish, it sounds fine again, so maybe it’s just during the quieter middle section where the kick could be dialed back.
This is a really great mix - I’m just trying to nit pick and find something for you.
Just curious, did you incorporate the multiband distortion and stuff from the video you posted?
Cool - thanks!
Oh yeah, what sounds like a kick click during that section is actually a side-stick overdub. Perhaps I could have treated that a bit more exotically to make it sound separate from the kick click… but if you listen really closely, you’ll hear that it is a separate part… oh yeah, & I actually did adjust the kick to change “point” during the different sections, as I did with the snare.
No worries - I’m always looking for something too! I’ve found a few things I think I can improve in the meantime.
No, this was done before I watched that video - this follows my usual process. The drumming was excellent on this, but recording itself was pretty ropey… more specifically the drum room had some pretty seriously boxy resonance, and the snare tuning was really low and thuddy - not really suited to the song. The kick sound left a bit to be desired too… Drums were a bit of a battle TBH.
Thanks for persevering with it and listening to the whole darn thing! Much appreciated!
I have heard this one before and this mix excited me. Not really much to complain about. There is a moment where i feel like i feel/hear the automation at 2:03. I don’t like that.
Somebody did this one already, but it was so clipped it wasn’t even salvageable. This version is so good I might as well not bother… but I will try to improve the tone / clarity / punch of it ever so slightly anyway, regardless. I even had to turn it down a notch. Very well done, kudos. CRS 
Thanks Eric! By automation, do you mean the delay throw there?
Hey Vaughan - thanks mate! I’m at work now, so I can’t listen to it on a decent system - I’ll have to have a listen on my studio setup when I get home.
I did a few little tweaks to this version last night, and I might do a few more - I’m trying to get the groove to “bounce” a little more, and also cut a few niggles I have in the high mids at some points in the track… we’ll see…
cool… I did it on cans and cross checked on Adams late at night. It seems to have a touch tighter mids and a little more width to my ear. You guys never leave me much dynamic headroom anyway, to do this kind of thing, but hopefully its useful to hear something slightly different.
Ok, so I had a listen on my studio speakers. I like what you did… It sounds very nice.
Just guessing, here’s what I think you might have done:
Very nice mix overall in my opinion. It does have some arrangement similarities with the metal song I recently mixed so I’m listening that with a particular interest.
The opposite delay/reverb on the hard-panned guitar on the intro works great. When the main guitar theme comes in, the lead guitar seem to disappear a little bit, probably because it shares so many common frequencies with the rhythm guitars. But on the other hands there is a “wall of sound” effect here that is pretty impressive so I don’t know if that’s really an issue. Did you do something special to achieve this effect or is it just the performance and the recorded guitar tones that produce it?
On the bridge (or prechorus or whatever section this is) from 1:41 to 1:55 the vocals are partially masked by the guitars. I don’t know what to do about that without altering that “wall of sound” effect though. But this doesn’t happen during the chorus.
The screamed part around 6:30 is a little bit buried in the mix in my opinion, maybe for the same reasons.
The volume boost on the drum fill at 7:05 is huge, but I do like it.
Very good work. I’m pretty sure this has been time-consuming, the song is lengthy and there are a lot of arrangement tricks that probably made your job longer.
sorry no it is actually at 2:01 as the bass comes back in
This is really great… love the vocal treatment and the guitars sound huge and wide.
Only thing I’d mention I feel like the kick could come down a hair in the sections where it’s just drums/bass/vox… but that’s just a preference thing, sound fine as-is and sounds great with the full band.
Thanks for sharing!!
hah, I did almost NOTHING .
NO TILT EQ - I simply couldn’t improve it (always a good sign).
BUT, here is what I ACTUALLY DID… IN ORDER
10 Hz +0.5 dB (not a typo)
40Hz -0.10 dB (also not a typo)
160Hz +0.30 dB
640Hz +0.40dB
2.5kHz +0.1dB
20kHz +1.10dB
Then using a 73 EQ, I added some VINTAGE NEVE midrange EQ:
+1.5 db @ 1.6kHz
+1.0 dB @0.360 Hz
+2.1 dB @110 Hz
I drove the input of that processor a dB or two harder than the output to add some saturation, then added 15ips tape saturation @ +5 bias, plus a touch of ambiance.
After that I added 0.6dB OF 2kHz and 0.5 dB of 5 kHz to offset the tiny bit of compression and width expansion added in the final stage.
So that was it… sorry its not very exciting…