The raw audio for a section of the lead vocal track.
The same audio with multi-band compression, full-band compression, dynamic EQ, static EQ, and pitch-correction.
The processed lead vocal track with ambience reverb and Symphonic modulation effects added — I've left the longer delay and reverb effects off so that you can hear the more subtle treatments in isolation.
The final lead vocal with all the processing and effects used for my remix.
Here is a section of the final mix without the last-minute Platinumears IQ4 dynamic EQ processing, to demonstrate the harsher vocal sound.
A mix of the two main original drum tracks — the primary drum loop and an extra heavily distorted layer which joins in half-way through the example.
The same two tracks with compression, tube saturation, de-essing, and EQ.
The processed drum tracks with a selection of different send effects (including a distorted and detuned reverb) and an added percussion layer courtesy of Sonic Couture's Abstrakt Breaks sample library.
A section of the processed string parts, from roughly 2:20 to 4:10 of the remix. In isolation it's easier to hear the Sidekick plug-in's pumping effect.
The original bells track, as submitted by Imprint.
The processed bells part, which uses fast-attack compression, EQ, and lots of long reverb to give a more ominous sound.
The original piano part, without any processing.
The piano part as in the remix, complete with multi-band compression, some fairly drastic EQ, and a variety of different delay and reverb effects.
This was one of the extra elements I added: an otherworldly sustained texture created from an edited and looped snippet of the lead vocal part.
Imprint's original version of the mix, as sent in to Mix Rescue.
This is a version of the final mix without all the extra audio parts I added — background atmospheric samples, reverse reverb snippets, additional percussion layers, and looped vocal pad.
My remix from Imprint's original multitrack files, complete with all the supplementary audio parts.