I wrote a bit and accidentally moved the page - so starting again lol!
Compression: I have checked the waveform, and listened in, I don't know if you were using individual mics or not for separate tracks, or just amp mics and overheads for the drums. Either way I think the compression is too strong. It's very warm production, I like it, but I would say there is not enough dynamic range that you can use to create more of a sound stage in live recordings. There is a wall of sound, that is a bit distant, 2D rather than 3D if you get me. A wall, rather than a room of sound. Also if you have separate instrument channels, consider using the "Counterpoint" technique. That is, using sounds that you can balance out in moderate/full panning. This increases the range and efficiency of the speakers, by not overloading both channels. You can even use a hi-hat full L and guitar full R, so long as they keep a similar time and range within the mix!
Use the "Haas" effect also, clone an instrument track that's important - switch them to mono (or if you have recorded in mono, this is a brilliant way to attain a stereo depth effect!), then on the track itself alter the track delay time for each as so:
Track 1 Mono: Delay -3.00ms - Pan Full L
Track 2 Mono: Delay +7.00ms - Pan Full R
This sets a difference of 10ms between Track 1, and Track 2 playing, which results in a psycho-acoustic affect, because each ear hears it at slightly differing times, our brain is tricked into thinking it is coming from two separate places, and we hear a "stereo" effect - that is different to normal stereo!
Play around with the delay settings, that's quite an extreme example. Shorten and lengthen it, you can get from very interesting effects from this simple technique, and create space in the mix and free the centre up for more bass dense effects.
DRUMS:
Mics, or mixing? I don't know. They are too weak though, the kick is a clicky sound and they give the impression of being distant in the mix. If you can pan out the guitars a little, and balance using the other techniques, and let a little more close ambiance shine through on those drums that would help the mix greatly.
I haven't had chance to listen loud and check out the bass as of yet, these are just what I remember from listening and consideration at the time.
Essentially let the mix breathe a bit more
For anyone watching this convo though, I must add Bears mix is good! These are things I as a producer feel, and are not necessarily right - as much is preference of bands/engineers as to their mixing priorities.
