White Noise Studio, Winterswijk

Ava Mendoza – Maxime Petit – Will Guthrie – Mix Master

Mixed and Mastered by Marlon Wolterink  – February 2016
Released on November 2 2016 by Becoq from Lille ( FR)  & Ranch from Philadelphia ( US)

The collaboration between guitarist Ava Mendoza, drummer Will Guthrie and bassplayer Maxime Petit was recorded in Studio D’en Haut – Nantes, France. I got send the seperate tracks to mix and master.
The 6 tracks who were sent were  1 bassguitar track, one guitar track and 4 for drums.
I started out with the drums.

Drum Mix:

For drums I got to work with two overhead tracks, a kick and a snare track. First of all, I made sure the overheads sounded good. They were somewhat aggresive sounding in the high mids. I used EQ and multiband compression to smooth that out. The lowend was rolled off and made mono with TP Basslane. A few small boosts in the low end helped the toms to cut through more.
The bassdrum and snaredrum track were eq-ed to add attack and depth. An envelope filter and tapestyle saturation were added after that for extra harmonics.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]A limiter levelled the overall sound of the bassdrum and snaredrum. The limiting helped them to sit better in the overall drumsound mix next to the guitar and bassguitar.
These 6 tracks were routed to a drumbus were most of the processing happened.
First a mid side compressor ( elysia alpha compressor vst) stabilized the mid part of the drumsound. The bx_saturator ws then used to add dirt, grit and attitude to the drums.

Guitar and Bass Mix:

The guitar track was rather thin sounding. I used a wide boost around 300hz to add warmth. A cut was done around 1650Hz for the same reason. An instance of Waves Kramer GT was added for some compression. It also added some liveliness to the guitar. A bit of stereo delay was used to give some stereo spread and width.
This was the processing used for the guitar.

The bassguitar mix was a bit more involved. First I did hi – and lo passing and removed a few recurring resonances. I felt the bass needed attitude soundwise ( not playing wise!) and opted for Steinberg’s excellent Quadrafuzz multiband distortion / saturation plugin. I set it up to leave the low end unaffected. The low to low mids got a tube emulation for a bit of tube compression. The largest mid part was treated with distortion for bite and growl and compression at the same time.
The final step was a multiband compressor with the lowest band set to sidechain duck by the kickdrum. The other bands added a bit of compression to even out some dynamics and help it sit in the mix.


With having 6 tracks, some overall glue was missing. I also liked having a sense of space around the band so all instruments were send to a reverb. I set this up as if was a room mic recording. So bleed from everything except the bassdrum.

The mastering:

I mastered through my D&R Stylyx Console. Each instrument was send to seperate board channels and had their own analogue eq before all was bounced back into Cubase.
On the masterbuss I then added overall saturation, some multiband compression and final eq before bouncing the master tracks.

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