Main kick

Inserts: UAD Cambridge EQ, Cubase Compressor.

The main kick (Track 30.6) first goes through the Cambridge EQ, where a single parametric filter (310 Hz, –6.8 dB, Q 1.05) attenuates low-mids that contributed little to the overall kick sound—with less mids, the kick appears to have more oomph and more attack (Track 30.7). The EQ is followed by the Cubase Compressor [threshold –20 dB, ratio 2:1, peak sensing, attack 67.4 ms, release 10 ms], which adds some punch (Track 30.8).

Second and bat kick

Neither the second kick (Tracks 30.9–30.11) nor the bat kick (Tracks 30.12–30.14) were treated. They are both simply layered underneath the main kick.

Main snare

Inserts: Sonnox Oxford Dynamics, t.c. electronic EQSat, SoundHack +Decimate.

Sends: Snare Reverb (Cubase RoomWorks).

The main snare (Track 30.15) first goes through the Oxford Dynamics, where a compressor [threshold –16.8 dB, ratio 2:1, hard-knee, attack 2.78 ms, release 127 ms] adds some attack (Track 30.16). The compressor is followed by the EQSat, where three bands are employed: a parametric filter [126.7 Hz, 3.5 dB, bandwidth 0.63 oct] adds some body (Track 30.17), another parametric filter [902.1 Hz, 4.5 dB, bandwidth 1.6 oct] adds some presence and attack (Track 30.18), and a high-shelving filter [1.45 kHz, 1 dB] adds some highs as part of frequency tuning (Track 30.19). Following the EQ, +Decimate reduces the bit depth to 8.04 bits. This adds some definition-noise and gives a touch of the famous 8-bit sample sound (Track 30.20). The level of the snare was automated to rise during the set of choruses after the second break. The main snare is also sent to the RoomWorks reverb, where a very short reverb sends it backward from its front position, which I found was too in-your-face (Track 30.21).

Second snare

Inserts: PSP MasterQ.

Sends: Snare Reverb (Cubase RoomWorks).

The second snare (Track 30.22) is not a layer of the main snare, but an independent instrument that plays on different beats (Track 30.23). This track only goes through the MasterQ, where a parametric filter [306 Hz, –8.41 dB, Q 0.53] pulls a wide range of mids that only muddled the sound while covering an important range for other instruments (Track 30.24). This track is also sent to the snare reverb (Track 30.25).

Claps

Inserts: Sonnox Oxford Dynamics, Cubase StudioEQ, SoundHack +Decimate. The original claps (Track 30.26) sounded too light and too natural. The initial burst of claps is usually sufficient for listeners. There is little damage done by shortening claps (especially in a busy mix), a practice that can also make claps snappier. The gate [threshold –8.4 dB, range –41 dB, attack 5 µs, hold 35 ms, release 9.2 ms] of the Oxford Dynamics was employed for this task (Track 30.27). It is followed by the StudioEQ, where three bands are used: an HPF [357 Hz] rolls off dispensable low-frequency content (Track 30.28), a parametric filter [2,057 Hz, –3.1 dB, Q 0.5] further reduces high-mids that contribute little to the mix (Track 30.29), and a high-shelving filter enhances definition and tunes the claps into the frequency spectrum (Track 30.30). The EQ is followed by the +Decimate [8.04 bits], which, similar to its function on the snare, adds some grit and 8-bit sound (Track 30.31).

Hi-hats

The hi-hats track (Track 30.32), which plays through most of the production, was left untreated. The track already contained some spatial information that sent it backward in the depth field. Being an additional element to the beat, it was panned left to around 10:00.

Wood

Another beat element that was left untreated is the wood (Track 30.33). It was panned around 14:00.

Broken bells

The broken bells (Track 30.34) suffer from exaggerated harshness and lack of grace. I found this track somewhat disturbing, and in my view the mix was better off without it. It was omitted.

Cajon

Intro/Break Inserts: t.c. electronic Filteroid, PSP 608 MultiDelay.

Other Sections Inserts: PSP MasterQ.

One important percussion element in this tune is the cajon. It plays throughout most of the song, but has special importance during the intro and the break. This led me to split the source track into two, having a dedicated track for the intro and break and another for the rest of the song.

The intro/break cajon (Track 30.35) first goes through the Filteroid, where a resonant LPF is bar-sync modulated (Track 30.36). Then it flows through the PSP 608. On the multitap delay, the mix control is set to 18% wet. Two taps are operational—one set to eighth-note, another to quarter-note. Both taps have a feedback set to around 50% and both have an HPF in their feedback loop (Track 30.37). Just before the first main beat drops in, the amount, gain, and balance of the first tap are automated. This creates a sustained feedback that sweeps from left to right, and could also appear to sweep up and down (Track 30.38). The level of the cajon track was automated to rise during the break.

The cajon that plays throughout the rest of the song is layered underneath the main beat. It is only treated with the MasterQ, where an HPF [97 Hz] clears the lows (Track 30.39).

Beat group

Inserts: PSP Vintage Warmer, UAD Fairchild, UAD 1176 SE.

All beat tracks but the main kick are routed to an audio group. The reason for the kick’s exclusion is that I felt it would benefit from independent processing—not being affected by the heavy compression taking place on the beat group. A quick look at the inserts chain reveals that the beat is processed by three compressors connected in series. Here is what happened. The first compressor in the chain was the Vintage Warmer, configured with parallel compression settings [mix 50 percent, drive 0 dB, knee 100 percent, speed 100 percent, auto release]. Its main role is to condense the beat and add some punch (Tracks 30.40 and 30.41). The Fairchild [input gain 7 dB, threshold 3, fastest time constants] was loaded for the purpose of enhancing the compression effect and to give some unique character (Track 30.42). The 1176 was loaded as a possible alternative to the Fairchild, but when it was loaded with the Fairchild still on, the result of the two working in series was infused with character (Track 30.43). The 1176, however, is not operational throughout the song since it made the beat somewhat slim; instead, it was automated to take effect during the last four bars of the first verse and throughout the second verse.

Break beat

Inserts: Sonnox Oxford Dynamics.

Sends: Break Reverb (t.c. electronic ClassicVerb, Sonnox Oxford Dynamics, PSP Nitro, Sonnox Oxford Dynamics).

The break beat (i.e., the beat during the break) called for a change of theme and more drama. I have chopped the kick, snare, and hi-hats from their main tracks and moved each to a new track. The kick was equalized with the PSP Neon (Tracks 30.44 and 30.45), the snare was processed with the PSP MasterQ (Tracks 30.46 and 30.47), and the hats were left untreated. These three tracks were then routed to an audio group, where the Oxford Dynamics added some compression in linear mode (Tracks 30.48 and 30.49).

But the powerful effect on the break beat is the outcome of an inserts chain that succeeds the reverb to which all three tracks were sent. The reverb is based on a modified “Small Hall” preset from the ClassicVerb (Track 30.50). The reverb is followed by the Oxford Dynamics, where the gate gates the reverb and creates chaotic level variations (Track 30.51). The combination of bit reduction and a wave shaping from the “PumpltUp” preset of the Nitro adds a generous amount of distortion (Track 30.52). Then another Oxford Dynamics compresses the sound, using the more hectic linear mode (Track 30.53). Finally, the second plugin in the chain—the gate—is bypassed shortly before the end of the break, to leave an audible reverb decay just before the chorus kicks in (Tracks 30.54 and 30.55).

Main bass

Inserts: Noveltech Character, PSP Neon, Sonnox Transient Modulator.

A single bass track was submitted with the multitrack. The original track (Track 30.56) had a generous amount of mids and highs that were meant to increase the bass definition, but I found these specific frequency ranges unappealing, so I decided to filter them. The first plugin the bass goes through is the Noveltech Character. The enhancer was inserted to fatten the lows of the bass, although as a consequence the highs were also enhanced (Track 30.57). Next comes the Neon, where in linear-phase mode three bands are used. First to be applied is an LPF [380 Hz, 12 dB/oct], which filters the mids and highs of the bass. This makes the bass a pure bass, without the mids and highs (Track 30.58). A low-shelving filter [100 Hz, –1.06 dB] that controls the subs was added later in the mix as part of frequency tuning (Track 30.59). Also, a parametric filter with a narrow Q [99 Hz, –5.18 dB, Q 11.25] was employed to shape the sound of the bass by removing some tone from around 100 Hz (Track 30.60). Following the EQ, the Transient Modulator adds some attack to the bass—this accents the initial level burst and lets the bass stand out better in the mix (Track 30.61).

Bass support

Virtual Instrument: Access Virus TI.

Filtering the mids and highs from the bass removed some problematic frequencies, but then the bass lacked definition. So an email was sent to the producer, who replied with the MIDI bass track file. The file was loaded onto an instrument track, with the Access Virus TI as a virtual instrument. The level of this support track was automated to have various degrees of effect at different sections. For example, it was attenuated in level during the intro and second verse, where the sparser arrangement made the added distortion highly noticeable.

Two slightly modified Virus presets were used in this arrangement. “Dukbass+BC” is layered with the bass throughout the production (Tracks 30.62 and 30.63). Rob Papen’s “Vacin RP” is essentially a distorted lead, wide in image, that only plays during the intro and the choruses. Its addition made the bass bigger and more defined during these important sections (Tracks 30.64 and 30.65).

Steel drums

Inserts: PSP MasterQ.

Final Inserts: PSP MasterQ, Cubase MonoToStereo, PSP Nitro.

Steel drums play a key role during the intro and break sections, during which the track level was automated to rise. Two versions were submitted with the multitrack—one with and one without delay (Tracks 30.66 and 30.67). I chose to use the one with delay. The original image of the raw stereo track was too wide for the mix and I wanted the instrument to be panned left. To achieve this, the image was narrowed by moving the right pan pot to the center (Track 30.68).

The track was equalized by the MasterQ, where three bands are used: an HPF [367 Hz, 12 dB/oct] rolls off dispensable lows (Track 30.69), a parametric filter [2.3 kHz, –6.6 dB, Q 0.26] results in a more rounded sound (Track 30.70), and a shelving filter [9 kHz, –5 dB] tunes this track to the frequency spectrum and helps send it slightly backward (Track 30.71).

The steel drums also conclude the production, and I wanted the effect during the final seconds to be more unique than in the raw track. So on a duplicate track, which only plays once the music drops out, the same MasterQ was inserted with the same settings as above; it was then followed by the Cubase MonoToStereo, which actually sums the stereo track to mono (Tracks 30.72 and 30.73); then it is followed by the Nitro, which applies an autopan effect synced to the tempo of the song (Track 30.74).

Gtr Pizz

Inserts: PSP Nitro, PSP MasterQ.

Sends: Gtr Chorus (UAD DM-1 Delay Modulator).

Gtr Pizz (Track 30.75) was first processed by the Nitro and its “PumpltUp” preset—a combination of a wave shaper, bit reduction [10.22 bits], sample rate reduction [19.5 kHz], and an HPF [748 Hz]. This combination adds some harmonics that fatten the sound (Track 30.76). The Nitro was followed by the MasterQ, where an HPF [277 Hz, 12 dB/oct] rolls off an excess of lows (Track 30.77). The original mono track sounded small and panning it to either extreme could create a stereo imbalance. Thus, it was sent to the DM-1, where a chorus [left delay 23.3 ms, right delay 68.1 ms, modulation rate 0.67 Hz, modulation depth 10 percent, feedback –29 percent, damping 3.7 kHz, 100 percent wet] adds a noticeable stereo size (Track 30.78).

French horns

Inserts: PSP MasterQ, PSP Nitro, PSP 84.

French horns (Track 30.79) play alongside Gtr Pizz on quite a few occasions. The track was first processed by the MasterQ, where an HPF [234 Hz, 24 dB/oct] rolls off an excess of lows (Track 30.80), a parametric filter [754 Hz, –3.2 dB, Q 2.8] lightly cleans the tonality of the instrument (Track 30.81), and another parametric filter [4.4 kHz, 3.6 dB, Q 2.8] adds some definition that lets the instrument to stand out more in the mix (Track 30.82). Following the equalizer, the Nitro with the same “PumpltUp” preset adds distortion and some flesh (Track 30.83). The original stereo track included a stereo effect that did not translate well when summed to mono (Track 30.84). The PSP 84 was employed to add 41 ms of delay to the right channel only. This not only resolved the mono-summing issue, but also gave a more distinct stereo effect bound to the extremes (Tracks 30.85 and 30.86). The image of Gtr Pizz is narrower than that of french horns, so when the two play together the stereo image appears to widen. It is then narrowed when Gtr Pizz plays alone (Track 30.87).

Big stack

Inserts: PSP MasterQ.

Sends: Big Stack Delay (Cubase MonoDelay).

Big stack arrived on the multitrack as a mono track (Track 30.88). It was processed by the MasterQ, where a single parametric filter with a wide Q [6.2 kHz, 1.5 dB, Q 0.41] adds some definition and tunes the instrument to the frequency spectrum (Track 30.89). Quite clearly, panning this track center would make it clash with more important tracks such as the beat and vocals. Panning it to either side could cause stereo imbalance. A stereo effect had to be added, and a delay was chosen [eighth note delay, feedback 18 percent, feedback LPF at 15 kHz]. The original track was panned to the left around 10:00 and, although the delay could have been mirrored to 14:00, experimentation resulted in it sounding better panned farther right, to around 15:00 (Track 30.90).

To add some variation and create a better stereo balance, the original track was duplicated and the duplicate was panned to the right around 14:00, with another delay panned to 9:00. But the original and the duplicate never play together—separating each hit on both and muting each hit on either meant that either the original played with its right delay or the duplicate with its left delay. The mute arrangement was not based on an alternating left–right pattern, but on a more experimental arrangement (Track 30.91). The level of the duplicate was automated to make its perceived level more consistent. In addition, both the original and the duplicate were sent to an audio group for the sole purpose of level control and automation.

Dist Bells

Sends: Dist Bells Reverb (UAD RealVerb Pro).

The Dist Bells track was left untreated, but the dry track (Track 30.92) needed to be sent backward in the mix and called for a nice long reverb. It was awarded with its own reverb— the RealVerb Pro. The “Big Bright Hall” preset was selected and its decay time was lengthened to 14.5 seconds (Track 30.93). When heard in isolation, this long decay seems to take forever to diminish, but not so when the mix is played along. Also, the noise component of the distorted bells clearly lingers on the reverb tail when heard in isolation. Although this could have been rectified, I found this addition of sustained noise to be a sort of high-frequency halo to the mix, and decided to keep it. The level of Dist Bells was automated between various sections.

LPTwin

Inserts: Sonnox Oxford Dynamic, PSP MasterQ.

Sends: Ambiance Reverb (UAD DreamVerb), LPT Delay (PSP Lexicon 42).

LPTwin is essentially a synthesized guitar (Track 30.94). The original track presented me with a common problem where low notes got lost in the mix while high notes stood out. The compressor on the Oxford Dynamics [threshold –9.9 dB, ratio 4:1, hard-knee, attack 5.2 ms, release 127 ms] was employed to level out the various note levels (Track 30.95); this was done with help from side-chain equalization involving a drastic low-shelving filter [1 kHz, –20 dB] and a drastic parametric filter [3.2 kHz, 17 dB, Q 1.287]. The compressor is followed by the MasterQ, where an HPF [229 Hz, 12 dB/oct] rolls off lows that only muddy the mix (Track 30.96) and a parametric filter [4 kHz, 1.31 dB, Q 0.85] adds some definition (Track 30.97).

LPTwin is sent at low level to the ambiance reverb just to blend it into the mix ambiance (Track 30.98). The ambiance reverb is the UAD DreamVerb and its slightly modified “Hall Cathedral” preset. LPTwin is also sent to the PSP Lexicon 42, which adds a distinguished wild-west-like effect. While LPTwin is panned around 14:30, its delay is panned nearly center. This creates a wide enough image and a fine sense of depth (Track 30.99).

Trumpet 1

Inserts: UAD DM-1 Delay Modulator.

Sends: Ambiance Reverb (UAD DreamVerb).

On the submitted multitrack, there was only one trumpet track, but I decided to split it into two tracks and process each differently. Trumpet 1 involves the staccato sections, while Trumpet 2 provides two legato sections. Trumpet 1 (Track 30.100) is first processed using the DM-1, where a chorus [left delay 44 ms, right delay 44.9 ms, modulation rate 0.67 Hz, modulation depth 10 percent, feedback 20 percent, damping 7 kHz, 25 percent wet] adds some dimension and sends the instrument backward (Track 30.101). The track is also sent to the ambiance reverb for depth positioning (Track 30.102).

Trumpet 2

Inserts: Sonnox Oxford Transient Modulator, Sonnox Oxford EQ.

Sends: Ambiance Reverb (UAD DreamVerb), TrumpetVerb (UAD Plate 140).

Trumpet 2 (Track 30.103) first goes through the Transient Modulator [ratio 0.58], which was employed to add attack so each note could cut through the mix better (Track 30.104). It is followed by the Oxford EQ, where an HPF [188 Hz, 6 dB/oct] rolls off dispensable lows (Track 30.105). Trumpet 1 is sent to the ambiance reverb for depth positioning (Track 30.106). I wanted a nice reverb with a nice tail on the trumpet, but increasing the send level to the ambiance reverb would also position the trumpet farther into the depth field. So, while the ambiance reverb is in charge of the front–back position, the Plate 140 was employed to add a nice dense tail (Track 30.107).

Screamin B4

Inserts: PSP Nitro, Cubase VSTDynamics.

Sends: Ambiance Reverb (OAD DreamVerb).

Screamin B4 (Track 30.108), a Hammond emulation, plays during most choruses and during the break. It first goes through the Nitro, where the “Phat Flutter” preset adds some size and distortion (Track 30.109). One issue with this track was that the last notes were too loud. The compressor of the VSTDynamics [threshold –12.5 dB, ratio 1.8:1, attack 1 ms, release 228 ms] was employed to contain the level of these last notes (Track 30.110). This track was sent to the ambiance reverb in order to blend it into the mix space (Track 30.111). The level of this track was automated to drop in level during the break, rise after it, then rise again during the final two choruses.

Analog King

Inserts: PSP MasterQ.

Sends: Ambiance Reverb (UAD DreamVerb).

Analog King (Track 30.112) plays in the last choruses of the outro and becomes one of the main instruments once the vocals drop out. This track was treated with the MasterQ, where three bands are used: an HPF [304 Hz, 12 dB/oct] rolls off dispensable lows (Track 30.113), a parametric filter [2 kHz, –5 dB, Q 1.69] is in command of tone shaping (Track 30.114), and a high-shelving filter [8 kHz, 4.5 dB] adds some definition and tunes the track to the frequency spectrum (Track 30.115). This track is also sent to the ambiance reverb, which blends it into the sound stage (Track 30.116).

Imposcar

Inserts: Cubase Studio EQ.

Imposcar only plays during the verses. A section of this track that played during the first chorus was muted due to arrangement density. Being one of the least important elements in the production, it was mixed underneath everything else. Although a mono version was also submitted, I chose to use the stereo version of this track, which was already imprinted with autopan (Track 30.117). Imposcar only goes through the Studio EQ, which shapes the tonality of this track to have more emphasis on the low-mids and less on the high-mids. Two bands are operational on the EQ: a parametric filter [735 Hz, 5.3 dB, Q 0.5] boosts the low-mids (Track 30.118) and another parametric filter [3.3 kHz, –2.9 dB, Q 0.5] attenuates the highs (Track 30.119).

Vocals reverb

Inserts: t.c. electronic ClassicVerb.

Different vocal tracks needed to be sent to a reverb for subtle depth positioning. The reverb had to be rather transparent and also suit the vocals as a sheer effect. The ambiance reverb was not fit for this task, so a dedicated reverb aux was allocated for the vocals. The ClassicVerb was chosen and its “Small Hall” preset highly modified. Tracks 30.120 and 30.121 demonstrate the function of this reverb.

vIntro1

Inserts: Sonnox Oxford Dynamics.

Sends: Vox Reverb (t.c. electronic ClassicVerb).

vIntro1 (Track 30.122) was compressed using the Oxford Dynamics [threshold –30.3 dB, ratio 1.55:1, soft-knee 40 dB span, attack 0.52 ms, release 5 ms] with the intention of containing level fluctuations (Track 30.123). The track was also sent to the vocal reverb for depth positioning (Track 30.124). The track was panned around 11:00, and its level was automated to drop once the bass is introduced (the point at which vIntro2 becomes the main voice).

vIntro2

Inserts: Sonnox Oxford Dynamics.

Sends: Vox Reverb (t.c. electronic ClassicVerb).

vIntro2 (Track 30.125) was also compressed using the Oxford Dynamics with exactly the same settings as vIntro1 (Track 30.126). The track was also sent to the vocals reverb (Track 30.127). vIntro2 was panned center, and its level was automated to drop during the very last sentence of the intro.

vIntro3

Inserts: PSP MasterComp.

Sends: Vox Reverb (t.c. electronic ClassicVerb).

vIntro3 (Track 30.128) is essentially chopped from vVerse2. It was compressed using the MasterComp [threshold –24 dB, ratio 3.36:1, hard-knee, peak sensing, attack 0.78 ms, release 100 ms] (Track 30.129). It was also sent to the vocal reverb (Track 30.130) and is panned slightly to the left, around 11:00.

vVerseLead

Inserts: PSP MasterComp, Sonnox Oxford EQ.

Sends: Vox Reverb (t.c. electronic ClassicVerb).

vVerseLead (Track 30.131) was compressed using the MasterComp [threshold –14.8 dB, ratio 4:1, soft-knee, RMS sensing, attack 0.79 ms, release 227 ms] (Track 30.132). After the compressor, an Oxford EQ HPF [141 Hz, 6 dB/oct] rolls off some dispensable lows (Track 30.133). This track was also sent to the vocal reverb (Track 30.134). vVerseLead was panned center and its level was automated to rise during the very first words of the first chorus.

vVerse1

Inserts: PSP MasterComp, Sonnox Oxford EQ.

Sends: Vox Reverb (t.c. electronic ClassicVerb).

vVerse1 (Track 30.135) also constitutes the fourth voice during the late intro moments. Together with vVerse2, it provides the accompanying voice to vVerseLead. It was compressed using the MasterComp [threshold –27.7 dB, ratio 2.8:1, soft-knee, RMS sensing, attack 0.01 ms, release 100 ms] (Track 30.136). Following the compressor, the Oxford EQ was inserted, where three bands are operational: an HPF [229 Hz, 6 dB/oct] rolls off some lows (Track 30.137), a parametric filter [775 Hz, 1.8 dB, Q 2.83] was employed as part of tonality shaping and frequency tuning (Track 30.138), and another parametric filter [3.2 kHz, –1.65 dB, Q 2.83] helps enhance the back panning of the voice (Track 30.139). Altogether, the equalization of vVerse1 also helps to distinguish it from vVerseLead. This specific voice was panned to the right around 14:00. It was also sent to the vocal reverb (Track 30.140).

vVerse2

Inserts: PSP MasterComp, Sonnox Oxford EQ.

Sends: Vox Reverb (t.c. electronic ClassicVerb).

vVerse2 (Track 30.141) was compressed using the MasterComp [threshold –14.3 dB, ratio 8:1, hard-knee, peak sensing, attack 0.015 ms, release 457 ms] (Track 30.142). It was equalized using the Oxford EQ similar to vVersel, only without the 775 Hz boost (Track 30.143). It was panned to the left around 10:30 and its level was automated as an additional measure to balance its level. It was also sent to the vocal reverb (Track 30.144).

vKsh

Inserts: PSP MasterComp.

Sends: Vox Reverb (t.c. electronic ClassicVerb).

vKsh was not submitted on the multitrack. At a certain point during mixing, I noticed a percussive “Ksh” in the second verse. It turned out that this was the tail of the word “splash” from vVerse2 (Track 30.145). I then copied this “Ksh” and pasted it into a new track on the downbeat of every other bar, for the duration of the second verse only. On this new track—vKsh—a MasterComp with the same settings as vVerse2 compresses the vocal. To send it farther into the depth field, this track was sent at high level to the vocal reverb (Track 30.146).

The final verse vocal arrangement can be heard in Track 30.147.

vChorusLead

Inserts: Sonnox Oxford Dynamics.

Sends: Vox Reverb (t.c. electronic ClassicVerb).

vChorusLead (Track 30.148) was compressed using the Oxford Dynamics [threshold –7.5, ratio 50:1, soft-knee 40 dB span, attack 0.52 ms, release 10 ms] (Track 30.149). It was also sent to the vocal reverb (Track 30.150). It was panned center.

vChs1

Inserts: PSP MasterComp, Sonnox Oxford EQ.

Sends: Vox Reverb (t.c. electronic ClassicVerb).

Both vChsl and vChs2 are double-tracked versions of vChorusLead. vChsl (Track 30.151) was compressed using the MasterComp [threshold –14 dB, ratio 8:1, soft-knee, RMS sensing, attack 0.010 ms, release 457 ms] (Track 30.152). The compressor is followed by the Oxford EQ, where three bands are employed: an HPF [229 Hz, 6 dB/oct] rolls off dispensable lows (Track 30.153), a parametric filter [2.7 kHz, –2.56 dB, Q 2.83] helps pan the voice slightly farther away (Track 30.154), and another parametric filter [9 A kHz, –1.5 dB] reduces some sibilance (Track 30.155). As with the additional verse voices, the EQ helps to distinguish the second voice from the lead. This track was sent to the vocal reverb, with the intention of placing it slightly farther behind the lead chorus voice (Track 30.156). It is panned to around 11:00.

vChs2

Inserts: PSP MasterComp, Sonnox Oxford EQ.

Sends: Vox Reverb (t.c. electronic ClassicVerb).

The vChs2 track (Track 30.157) was processed very similarly to vChs1. The settings on the compressor are all the same apart from the threshold, which is set to –12.26 dB, and the release, which is set to “Auto” (Track 30.158). The settings on the successive Oxford EQ vary only slightly: an HPF [229 Hz, 6 dB/oct], a parametric filter [4.6 kHz, –2.15 dB, Q 1.67], and another parametric filter [10.2 kHz, –1.38 dB, Q 2.83] (Track 30.159). This track is panned to 13:00—mirroring vChs1. It is also sent to the vocal reverb (Track 30.160).

vAns1 and vAns2

Inserts: PSP MasterComp.

Sends: Vox Reverb (t.c. electronic ClassicVerb).

Both vAns1 and vAns2 (Track 30.161) were compressed very similarly using the Master -Comp. The compressor settings on vAns1 are [threshold –15.63 dB, ratio 8:1, soft-knee, RMS sensing, attack 0.017 ms, release 100 ms], while the following differences were applied on vAns2 [threshold –17.25 dB, release 161 ms] (Track 30.162). Both tracks are sent to the vocal reverb (Track 30.163). vAnsl was panned to around 10:30, while vAns2 was panned to around 13:30. This panning position means that the answering vocals are not too far from the center, yet their image is wider than the lead chorus vocal and its doubles. This creates a centrally panned question and an answer that appears farther to the sides.

vAns3 and vAns4

Inserts: PSP MasterComp.

Sends: Vox Reverb (t.c. electronic ClassicVerb).

Both vAns3 and vAns4 (Track 30.164) are chopped from vAns1 and vAns2, respectively. Both tracks are compressed exactly like their origin tracks. The only difference is that vAns3 and vAnd4 are panned a notch farther outward and their send to the vocal reverb is lower; thus, they appear closer (Track 30.165).

vTemps1 and vTemps2

Both vTemps1 and vTemps2 contain five instances of the word “Temps,” which emphasizes the other vocals at the very end of each chorus. These two tracks, which were neither processed nor sent to the vocal reverb, were panned around 9:00 and 15:00, respectively (Tracks 30.166 and 30.167).

The final chorus vocal arrangement can be heard in Track 30.168.

vBreak1 and vBreak2

Inserts: PSP MasterComp.

Sends: Ambiance Reverb (UAD DreamVerb).

Both vBreak1 and vBreak2, as their name suggests, only appear during the break (Track 30.169). Both are compressed using the same setting on the MasterComp [threshold –8.82 dB, ratio 8:1, soft-knee, RMS sensing, attack 0.017 ms, release 457 ms] (Track 30.170). The general idea with mixing these two voices was to have them farther away in the mix, to create a contrast with the main vocals. Thus, instead of sending these to the vocal reverb, they were sent to the ambiance reverb (Track 30.171). vBreak1 and vBreak2 are panned around 10:00 and 14:00, respectively.

vFX

Inserts: PSP MasterComp.

Sends: Ambiance Reverb (UAD DreamVerb).

This track, which on the multitrack was already distorted and imprinted with delay (Track 30.172), was compressed using the MasterComp in order to contain level fluctuations, and sent to the ambiance reverb to help it gel with the mix ambiance (Track 30.173).

vOutro and vOutroDelay

Inserts: PSP 608 MultiDelay.

Based on a rough mix submitted by the producer, instances of “it’s Temps” were added to the otherwise vocal-free ending of the song. This was done by cutting the final instance of this phrase from vTemps2 and pasting it into a new track called vOutro. Instead of automating a send to a delay, I duplicated vOutro and inserted it on the new track (vOutroDelay) on which the PSP 608 was inserted [100 percent wet]. All the eight taps of the delay were utilized with a quarter-note spacing between each tap. The echoes were programmed to gradually drop in level and to shift outward between left and right (Track 30.174).

Vocals group

Inserts: t.c. electronic Dynamic EQ, Sonnox Oxford EQ.

All vocal tracks, apart from vOutroDelay, were routed to an audio group. The audio group provides collective level control and processing. The first insert on this audio group is the Dynamic EQ. One issue with all vocal tracks was overemphasis in the 10 kHz area. This was made even more profound by the MasterComp, which was loaded on many vocal tracks. The Dynamic EQ was configured with a single parametric band to the frequency of 10.3 kHz, –7.2 dB of gain, and a Q factor of 1. The equalization was set to fully dynamic, with the threshold set to –21.7 dB, attack to 1 ms, and release to 81 ms (Tracks 30.175 and 30.176). Essentially, the Dynamic EQ was utilized as a de-esser in the 10 kHz area. Following the Dynamic EQ came the Oxford EQ, which was added at a later mixing stage to tune all vocals into the frequency spectrum. Two bands are used on the EQ: an HPF [67. 1 Hz, 6 dB/oct] controls the low limit of the vocals (Track 30.177) and a parametric filter [2 kHz, 2.5 dB, Q 1.73] adds some highs that were lost as a result of the function of the Dynamic EQ (Track 30.178). The vocals group level was automated in two places to balance level fluctuations.