Raw files - post your mixes of 'You're Free'


I have to say this is pretty darn cool of you to set this up.
I was hesitant to try it at first, but decided to down load the tracks and take a look.
There was a bunch for sure. Started to fiddle around with the project, one thing
lead to another and I was hooked.

I am impressed with the sound quality of your tracks, but almost fell out of my chair when I realized there were five guitar tracks alone, good golly miss molly, but what should have I expected from a guitar player such as yourself?

Personally, I keep struggling with live drum and mic bleed so it was a treat to try my hand at sampled drums.

I enjoyed working on this and getting into your musical head, so to speak, and get my own mind around what you had done, then where to go. Cracking the tempo and time sig. caused me to learn a couple new things, all good.

Before I give it up, I do want to say if you or anyone else has any thoughts for me on how to improve or change my attempt, I’m all ears….

‘YOUR FREE’ http://jswmusic.bandcamp.com/track/your-free-jsw-mix

Thanks for letting me play with your music.


To everyone else; I have enjoyed listening to your mixes.

Interesting take on the song. The major problem I hear is that it’s pumping terribly during the loud parts… I’d open up those attack and release settings some

If I get time tomorrow, I might try and heavily reverberant Oasis-style mix :laughing:

so that’s what that is. :wink: Mono is an interesting tack to take by the way.

mix #2 is up…think the pumping has subsided…not sure. Seems as though I was sending to hot a mix to bandcampand [blame it on the other guy] their compressor didn’t agree with it so I did a re-do with a softer mix.

Hi Dave,

if we do this experiment again maybe we need to clarify what our roles are.
Are we mixers (balancing the song?) or are we producers (shaping the song?)

My own philosophy was that you’d already produced the track and that my
brief wasn’t to alter it. I know we were free to choose our paths, but that was mine.

I didn’t use any of the room or “second” tracks, so I worked with fewer files.

Kick: SPL Transient Designer to kill the boom, scooped and boosted various EQ spots, then API 2500 @ 4:1.
Snare: cut the hi-end, I had to even out a few inconsistent hits over the outro, then API 2500 @ 10:1.
Toms: cut the bottom and peaked a little at 5 khz, then API 2500 @ 4:1.
OHs: had to ride them. Fairchild “Over The Top”. Wanted them to just float over the mix. Cymbal crashes were a problem, not loud enough but I was unable to do much about it as they are mixed against a ride hit which creates a compressor/artifact issue.
Hats: tamed the top end, but let it free in the breakdown section. A lot of riding. API 2500 @ 4:1.

Then, grouped the drums into Lexicon “Studio”-type room.

Bass: had to resect the file a lot to wed it to the kick drum, rode the outro. Kush Audio Fatso for added warmth.
Didn’t use the amped track. I used a Precision-type EQ setting.

Guitars: left the riddum geets more or less alone, minor EQ on the tops, wound back most of the top end on the AC15, sent the lead to a Roland Chorus/Tremelo then to a Korg SDD3000 to soften it, then grouped into API 2500 @4:1. A bit of the Lexicon. Centred the latter two gtrs for energy and drive.

Vocal: had to resect the files a lot for tighter alignment, was brutal with chopping out lip-smacks, plosives and spikey sibilance.
Waves de-ess, API 2500 @ 10:1 then Waves L1 at a very hard ceiling to crush them. A bit of the Lexicon.

Then mixed into the Fatso to generate some extra harmonic content before tape layback.

Tape master is -11.5 dB with the L1 set at zero threshold and ceiling of -0.3 dB.

So, I went for a fairly modest, unaffected sound and on the dry side.


Here ya go Dave. http://soundclick.com/share.cfm?id=10529543


Really not a fan of that distorted bassdrum myself, sorry :confused:

Seems like a severe overload of the left channel.

Well I don’t mind what people do, though my initial idea is learning and improving basic mixing techniques.

I see you found some issues with some of my tracks. :mrgreen:

Hi guys

Thanks for the technical info.

I had better post a link to my on mix here and some info

You’re Free

Only kit one was used for the quieter parts and overlaid kit to in the louder parts.
Not much treatment to the drums except for the Kjaerhus Peak limiter on kit 2 drum buss and both kits go through Voxengo’s Analogflux tape buss.
Guitars given a little lift with UAD Pultec and a send from the leads to Nasty DLA
Vocals brightened with UAD 31102 - high pass at 160hz, a boost at 3.2k and shelf boost at 10k and each compressed with UAD 1176.
Vocal buss Sptifish de-ess, Pultec low cut at 100hz and through Nasty DLA
FX sends are Cooper Time Cube - Guitars and a little bit of vocal
Analoflux insert with a Lexicon Medium plate impulse - vocals and drums send
Master buss = UAD 33609 wit about 4bd reduction and Pultec flat for a bit extra vibe.
Mixed to 18rms and the limited with Voxengo Elephant as a quick level lift.

Yeah, the drums and bass were not real tight.

Next time I’ll really open up with the vocoders! :smiling_imp:


Luckily I never read that bit! :wink:

Maybe not quite what you had in mind, but hey: if you go leaving raw files around then some fool is going to take liberties with them!

Dave: it’s nobody’s fault but your own! :mrgreen:


OK, it’s not really a mix in the pure sense of the word: more like “adding simplicity”

[Edit ii] ********** Updated mix ***********
Here’s a slight re-mix of what isn’t really a mix: less breathy, less sibilant and fewer plosives.


Some thoughts;

The more I work on this song, the more I connect with it and want to push the vision your music put in my head… The singer standing at the grave of a loved one singing soft and tender words of goodbye, as the rage and torment of sorrow well up inside, bursting out, yelling to the heavens as the physical pain represented by the screaming guitar, surge from the lower back, through the shoulders, up the neck and ripping out the top of the skull, competing with logic and reason of lyric, competing for space in the tortured mind. Finally, subsiding slowly to a true calm and past the insanity of the pain to a true softening and comforting of the heart with soft, sweet goodbye and the warm, low, relaxing sounds of nature offering acceptance…

Hmmm, having just written this, it occurred to me I didn’t push this hard enough in the mix. Funny, I never get this depth of feeling out of music I just listened to a couple of times on the forum. I just post something like …’Dig your tune, thanks for posting’.

Work flow;

Being a mechanical person by nature the tracks were thrown onto the grid to get solid footing. It was a real discovery process. First the time signature was cracked, what a surprise to see what my ears didn’t hear, ¾ and 4/4 time intermixed. Next, set the tempo track to follow the kick which was the top track which revealed in the inspector all the tempos that had been set. This was all new. An estimated average of the various tempos resulted in a decision to use 92bpm. Next, a break to think hard about doing the next step due to the fact that once it was started there was no stopping until done. Got a beer and set about syncing everything to the grid. Sorting the tracks was next. Setting up Group Channels was the ticket for that; Drum Master, Bass Master, Guitar Master and Vox Master. Checking Dave’s notes, the 2nd tracks were put beneath the 1st , there seemed to be extra tracks left over, kind of like building your children’s wagon on [name your holiday] and having extra parts left over. They were pushed to the bottom and muted for later if needed. With the house keeping done, the fun started.

The following is the track list in the project window. Arriving at the current end result was trial, trial and error, error, error.

TRACK NAME … DETAIL …[plug-ins are cubase unless specified, Pan-C unless specified]

Signature ¾….4/4…etc
Tempo - 92 bpm

Drum Master Multiband compressor-Drum 2 w/low boost, Gain adjustments to taste
… Kick –studio eq-rock bd-high flat, boost @ 60
… Snare-studio eq-rock snare, cut highs; roomworks-drum shine to taste; track advanced
1 tad for thickening-all snare hits are manually optimized for gain
… Snare2- eq-old school snare, cut highs, boost at 156
… Copy Sn2- “ “ “ “ “ ; retard timing 1 tad [thickening]
… Toms – L16
… Toms2-R17
… Hats-high shelf II at1744, -5
… Overheads 1 & 2-high shelf II 1219, -5
…Room – high shelf II- 1010, -3

Bass Master- eq; -7 at 61, -6 at 1050; auto at end of track
… Bass and Bass Amped-not touched
… Copy Bass and B amp- harvested 2nd to last riff, deleted the rest, aligned with last bass
riff to make bass chord.

Guitar Master-used for automation of macro gain
… Strat- pan L,
… Peerless-pan R
… Fern ac15-pan L50
… Lead-pan R50
… Lead 2

[all guitars have Yamaha channel strip w/e.guit. compression and one of
five different eq preset for guitar to simply give each guit. it’s
own space; the fern and lead 1 received their own gain

Master Vox-[added because I got in a jam] TC voice strip, MultiBand Compressor, Magneto, Studio EQ, RoomWorks

… Vox Master-used for automation of gain
… Vox high-pan L3
… Copy Vox high-panR3
… Vox low-pan L4
… Copy Vox low- pan R4…panning to create space for ‘screamin’ guitar solo[attempt]

[all vox was taken into melodyne to sync harmony etc.

Stereo Out-MultiBandCompressor-rock master 2; Reverence; GEQ-30; mixed to -6db

[If you can make any sense of this drivel…good on ya!]


Ruaridh, I like your simple, yet elegant version with extended harmonies.


Enjoyed hearing your mix and the way you intended your song to sound. Look forward to a discussion of everyones thoughts, likes and dislike, points of learning, insites, etc.


Like Jet, the main issue I found was the misalignment of the bass against kick. Didn’t take much to sort it out.

Hello All,
I don’t have much to contribute at the moment, but I did want to say thank you for creating this thread. It’s a great idea, and i think just the type of thing I’m looking for. I came into this forum tonight looking for ways to connect with people and this seems a good one. I don’t think I’ll be able to add anything for this “you’re free” project, You all seem to work very quickly, but hopefully I can try something when you move to a new song. At the very least, I hope to learn a little something from you guys. (Hope you don’t mind)

Not what I had in mind but I do like that. :sunglasses: In fact I’d like to hear some more ‘different’ versions.

Please keep them coming guys, it’s great. There are so many different takes. In the beginning it took a bit of getting used to some of the mixes, but that is just the effect of emotional attachment to my own version. It is a really good thing to have someone else mix it and I’d recommend it to you all. I hadn’t realised there was an timing problem between bass and drums. I’ll have to go check my own version now. I probably just got used to it that way. :blush: Since I’ve been playing everything in live I don’t work near as much to a grid as you can see. :slight_smile:

BTW, I should just clear up that this song is not written out of direct personal experience. :slight_smile:

jdj912 , welcome and feel free to join in. These guys do work quickly don’t they. The odd times I’ve mixed somebody a tune for somebody else it’s taken at least 8 to 10 hours.

I have enough bandwidth this month on my site for just two more downloads. After that the files will only be available from the dropbox link until next month.

Thanks everybody

Have to pass on this one, the others have done so well! So far I like Sherz’s the best (except the snare, of course!). But most of all, want to comment on what a good tune it is.

Let me mention also that I didn’t get to hear Jet’s as it was not there when I looked for it.