• Introduction (04:32) - Learn about what this series is about, and hear the song used before and after processing with Slate Everything Bundle plug-ins.

• Calibrating the Tape Machine (04:14) - See how to calibrate the Slate Virtual Tape Machine, and then how to introduce subtle tape saturation while maintaining a constant level.

• From Tape to the Console (03:51) - Follow along as the Virtual Console Collection plug-in is calibrated, and then instantiated across all the tracks following the Virtual Tape Machine.

• Mix Bus Setup (05:31) - Watch as the Console and tape emulations are set up on the master bus, followed by very gentle FG Grey, FG Red, and FG MU settings in the Virtual Bus Compressor rack.

• Drum Overheads (05:58) - Hear how the Custom Series EQs and Air EQ are used on the two overhead channels to establish a blend of the full kit. The two channels are subgrouped together with FG Bomber used to subtly enhance the transients before being blended in parallel with two stages of gentle compression.

• Kik Drum (03:41) - The FG-N is used to add weight, click, and saturation to the kik drum before being enhanced by the Earth EQ. It is then run through the FG-116 Modern compressor with the high pass filter circuit engaged and a quick release setting, resulting in added energy to each attack.

• Snare (05:02) - The main snare track is set up with some fairly standard EQ and compression. A parallel bus is set up to add weight and emphasis to the lower end of the snare. The two are blended together on a snare bus where the Custom Series Lift EQ adds polish to both the thickness and the crack of the snare drum.

• Hi Hat & Toms (06:36) - See how the hi hat and tom mics are processed and blended with the overheads for emphasis and stereo imaging.

• Room Mic (Controlled Chaos!) (04:17) - Hear how a mic placed outside the drum room is treated with EQ and compression to add some "room" to the dry drum sound.

• Drum Bus & Reverb (05:55) - Hear how some interesting EQ sweetening is created by first cutting and then boosting the same frequencies using two instances of the Custom Series EQ, then running it through some parallel compression. An instance of Verbsuite Classic is then used on a Bus to establish an overall room reverb for the drum kit.

• Electric Bass (04:22) - The Custom Series Equalizer is used to EQ the signal before it is fed in to the Scuffham Amp. It is then processed, post amp processing, with another instance of Virtual Mix Rack using selected bands of both the FG-N and FG-S EQs, followed by some gentle compression to control the final output level.

• Rhythm Guitars Pt. 1 (04:38) - Hear how the Scuffham amps are used in conjunction with Mix Rack plug-ins to blend a telecaster and a stratocaster guitar together.

• Rhythm Guitars Pt. 2 (06:17) - See how cleaner guitar processing is set up on these tracks to blend with the more aggressive rhythm parts.

• Intro & Chorus Guitars (04:22) - A final pair of guitar parts are layered with the others, each with unique EQ and amp settings.

• Acoustic Guitar (02:41) - See how a strummed acoustic part is blended with the wall of multiple electric guitars playing the main hook during the intro and chorus.

• Verse Guitars (04:33) - Discover how treating three complimentary guitar parts (recorded with the same guitar, each using different pickup positions) together through a single processing chain, helps them to function as a single unified part.

• Pre Chorus Guitars (05:00) - Explore the effects of routing to multiple destinations for a complex layered effect as the pre chorus guitars are fed to both the verse guitar bus and a new bus for simultaneous processing.

• Interlude Guitars (04:21) - Hear how dual mono guitar amp processing is used within a single instance of a Scuffham Amp.

• Guitar Solo (03:27) - See how the lead guitar is processed with an S-Gear amp and Custom Series EQ for a searing solo sound that brings the arrangement to an exciting climax.

• Guitar Mono Magic (04:50) - Hear how some extreme mono parallel processing of all the guitars using EQs and Virtual Bus Compressors brings a fullness to the overall blend.

• Mix Check (07:02) - The sound isn't shaping up quite the way I had hoped. Follow along and see what changes I've made to bring the guitars and snare drum closer to what I originally had in mind. Lessons learned: 1. Constantly check your tweaks in the context of the whole mix rather than tweaking them in solo mode. 2. Be careful not to use too many disparate guitar amp based reverb, delay, and modulation processes simultaneously.

• MIDI Tracks (03:38) - The supporting MIDI instruments are routed to a subgroup, and treated together with some console and preamp drive, low cut filtering, and reverb.

• Lead Vocals (05:52) - Hear how the width of the vocal reverb is set up to blend with the stereo width of the guitars, and see how automation, EQ, and multiple stages of compression are used to smooth out the lead vocal track.

• Harmony Vocals (07:40) - Harmony and alternate lead vocals are grouped and treated together. In addition to preamp drive, EQ ,and compression, the Eiosis Air EQ and the DeEsser are used to help the high end work in conjunction with the heavily driven guitars on the chorus. A send to Repeater is automated to add an ethereal floating quality to the vocals at specific sections.

• Vocal Stack (04:10) - Hear how the stacked "oohs and ahs" are treated with drive, EQ, compression, Air EQ for sparkle on top, and finally reverb and delay to help them "disappear" into the background.

• Final Tweaks & FG-X (06:42) - Learn about a few small last minute tweaks to the mix, and see how the FG-X is used on the stereo output track to bring the volume up to commercial levels.

• Final Play Through (05:18) - Listen to a final play through of the finished mix along with the artist video of Will to Survive by Hayley Richman.

• Virtual Tube Collection (08:17) - Learn about these three new plug-ins, and hear how they recreate the sound of classic vintage tube circuits on a variety of tracks and busses.

• FG-Stress (09:00) - See and hear how this latest emulation from Slate captures the wide range of compression characteristics heard in the Empirical Labs Distressor unit. Opto and Nuke modes, along with the various detector and post compression circuits are explored.