The first thing I intend to do is to set the low frequency mono to control it better as well as give more spread to the mix in terms of mid-high frequency.
Izotope Ozone 5 Stereo Imaging was used for this with the following settings:
Low Band - Mono
Low-Mid Band - a bit to the Centre
Mid-High Band - Spread Increased
High Band - Spread Increased even more
Ozone 5 Dynamics (multi band)
It was used to have better control over the frequencies as well as set the Attack and Release different for each band so as to have slower attack and longer release on lows and the other way around towards the highs;
Outboard Gear
Dangerous: S&M Width added to create more space within the mix;
Avalon EQ and Compression: +1dB Input Boost to capture harmonics; EQ was used to emphasise the Mid Range by boosting the 2 Mid Range Faders +1dB; The Opto Compressor was post the EQ as it was desired to compress what came from the EQ;
dbx 160: It was used to glue the layers better and to enhance detail as well as to bring some of the backgrounds a little further; It also captured harmonies around 2.5k to 5k and added a little warmness which was desired;
The processed audio file was then bounced down and imported into Pro Tools to listen if any improvement emerged. Having the expected result, it is the time to focus on the peaks and program levels.
Within Pro Tools:
Slate Digital Compressor: It was used to emphasise the transients, compress a bit as well as increase the overall level through the Gain Output;
Maxim Compressor/Limiter: It was used to create a parallel compression to make the track a little stronger and exciting;
Izotope Ozone Maximizer: It was used to limit the peaks as well as to set the loudness of the track;- IRC IV Logarithm was used, as it seemed to be the cleanest one;
The Insight Plug-in from Izotope was used to monitor the levels before the final bounce.
And the result sounds like this: