@Garry Simmons that would be a great setup for sure. I like the idea of adding channel strips to it. While I'm dreaming the new SSL Revival 4000 or new Neve 8801. Also waiting to see pricing on the new Chandler REDD modules. The idea of building it out slowly makes a lot of sense for those without much studio gear.

@Josh West the genius of it is its modular. A careful watch of the video will show that it can be bought and built in stages.

I have two go to plate reverbs that you can set up in 30 seconds for a decent sound. One is the UAD Pure Plate reverb Other is the Waves Abbey Road Plate reverb Both go on sale regularly.

Hey Tom, This is a really cool song, a bit hard to fit in one genre but maybe progressive rock? I like a lot of the effect elements and haunting backing vocals. I took a look at it tonight and could provide you with more detailed comments if you like. With a project like this I would definitely initiate a conversation with the mix engineer/producer to get on the same page for the anticipated result after mastering. Some basic comments surround the delivered loudness, lead vocal balance, and panned instrument balance as the wide stereo field information was loud in the mix. If you like I'd be happy to talk further and provide you with a master for your efforts. Thanks

Hi @Tom Hiester, I spent a bit more time looking at what I could achieve with this song as is. It really has a lot of good things going on. It was a great track to work with and is close to ready for mastering. There are two instruments poking out of the mix that would be definitely be better addressed in the mix. One is a keyboard or synth panned left and the other is one of the guitars that lives just left of center. When I pull everything together for mastering that guitar sticks out in part due to efforts to bring out the vocal but also because any mid side work to address it catches it both in the mid and the side which can smear the sound balance at extremes. The keyboard sticks out because the other elements panned left are quieter by comparison leaving a similar issue with any processing. It is always louder leaving limited choices to address it without affecting the overall impression of what's mixed to the sides of the stereo field. In this case even use of dynamic eq or mid/side compression or even limiting left a result that was not worth proceeding with. The delivered loudness adds to these issues generally. Taking the limiter off would be better for the dynamics of the track overall. If you are able to revisit the mix, let me know and I'd be interested to see what I can do with this. I think you had mentioned you were in the Mastering Intensive so I would understand perfectly if this is a project you are planning to finish yourself. I can get a sense of how many hours went into it!

That's a really great idea! It makes me think whether creating the galllery could be done by AI, at least adding plugins perhaps.

Learning to mix with skill and efficiency is going to be something I am focusing on this year. So far, one technique I have found to be interesting is 'notching', which is basically eq'ing, but a bit more focused. When I have grouped some tracks and have balanced their volume, I will notch out a small amount from one track against another in specific frequencies so that one of the performances is subtly louder in perception. Creates a neat effect for lead/rhythm elements or vocals.

@William Yung I find this kind if strategy super helpful when starting out with mixing! Thank you!