As for the Gear I used....Mixed in my basement project studio, using ProTools 8LE. I did not use any hardware, all was done ITB. My monitors are Amrita Kronos, with a QSC PLX power amp. I used TL space for the Vocal and Guitar reverb, I used Reel Tape Saturation on the Master Fader for a little retro saturation to the sound. I had a Fab Filter Limiter last on the mix buss, but my levels didn’t touch the ceiling…I used it just to see my RMS level, trying to stay in the recommended -16,-18 range.
I didn't do any eq with the bass tracks, it sounded right with both faders up, and a couple db of Massey CT5 on the Bass buss.. For the drums, I used a little Massey eq on the kick, and Massey CT5 for a little drum buss parallel compression.
I duplicated the snare track, and put the stock DIGI Gate and the stock Digi Compressor on the duplicate snare track to get the snare to punch out a few db in the mix.
I spent a little time trial and error on flipping the phase between the drum tracks, but I got it pretty good without doing any “nudging” of the tracks.
I gave the guitar track had a little low midrange boost using Fabfilter Pro-Q, and just a little TL space reverb panned hard right for some depth.
The Vocal track had a chain of BF LA-3A, Massey eq, Massey CT5 compression, followed by BF Fairchild 660. I manually fixed a couple sibilant sssss’s, but there were only a few spots that bothered me, so I did not use a desser. I manually “ducked” the fader on a the word “Louder” in the first verse, and the first F in “Feel it” on the second verse, but other than that I  let the vocal performance be dynamic without crushing it. All plug-ins were used at light settings, just a db or 2 , and mostly for the retro tone and a soft dynamic control.. (More info below)

As for my artistic intentions...I had a good vision of how I wanted to mix this song, and I am very happy with the result. I was fortunate to be in the front row near the center for the Fab Dupont's tracking session at Sweetwater's Gearfest 2012. It was a great live performance, and the Drummer was stage left, and Guitarist stage right...So in my mix, I panned the Drums and Guitar a bit left and right, the way it sounded to me live. In addition to that, I listen to alot of music styles, and I particularly spent about an hour every night for 2 weeks listening to music that I thought had a similar "vibe" to the Liza Colby Sound. I think the old school (60’s) way of recording drums panned hard left (or right), and creating a stereo sound stage with creative use of panning techniques guided my taste in mixing Oh Baby, although I did not pan too extreme left amd right…I tried to keep it natural, but with some retro vibe influence. 
I resisted the temptation to use special effects and drum triggers… I tried it, and then said forget it, keep it real. So it’s all real, with a little reverb, and panning for the effects. 
As for the clapping at the end....well, if it was a live concert, I am sure there would have been thunderous applause in the beginning and the end of the song, with some cheers during the softer passages. However, since the forum was a recording seminar, the applause at the end was way too "polite", and frankly not long enough without copying and pasting extensions to get a decent fadeout. I tried it, it sounded cheesy, and so I cropped it out. To my ears, my Oh Baby mix sounds like a late 60's early 70's studio recording. It was a great song to mix, an awesome fun contest to enter...I am very happy with the result, and I gave this my best shot.
Thank you to PureMix, Dangerous Music, and Sweetwater for putting this contest together.
Best regards,
ElectricBillYetti-
