Anyone want a crack at mixing this for me?

Of course you're entitled to your own point of view, and I can certainly see that I'm in the minority as far as Revalver goes. But to be quite frank I've never liked it and also never heard it get near Splatt's gearbox tones, especially as far as spectral balance goes. I've played with all the major amp sims, and Revalver is still quite frankly a cheap plastic imitation of a real amp to me... I don't know what gearbox's aim is but it creates more usable mix tones, rather than something you play next to your 5150 or JSX and remark how cool it is that they got the fizz sounding similar, but then realize it falls apart in a mix.

Just my opinion of course, but certainly no love for Revalver here. As a demo tool sure, but wouldn't use it in any semi-serious mix.
 
In fact I remember a while back where splat posted some mixes using revalver mkIII and they sounded just as good if not better than gearbox.

I was going to mention exactly the same thing. What Moonlapse must have missed, or his personal tastes just disliked were the demos Splat did with MKIII. I thought they were incredible and blew his Gearbox tones away. His tone with Gearbox is good and the best I've heard from Gearbox, but I've heard more impressive guitar tones. If I remember correctly, Splat himself even said after playing with MKIII for a little while that ReValver was, and I quote, "going to change his life".

This is one of my favorite all time guitar tones from Splat using ReValver.

http://www.soundclick.com/bands/page_songInfo.cfm?bandID=404561&songID=6476066

but I don't think playing over the original recording(like the guy in the link you posted) helps to draw any conclusions.

By the way, in most of those recordings, there are mixes with the guitar tone alone to draw conclusions from. Take another listen.
 
@More Than Ever: I can't say I heard that clip before. Doesn't sound half bad, I must say. Quite a cut above what I heard people getting out of the software up until now. Even so it's got a lot of that unnatural mid-focus which makes it sound a tad flat and 2-dimensional. I imagine it would've involved a lot of messing around/Curve EQ to shape the tone like that?
 
Here is a revalver tone that I did a while ago completely without curve EQ:

http://www.friendsofmaitreya.com/DATABASEN/Enes/Another_Nightmare_loud_3.mp3

I'm quite satisfied with that one, althouh my newest paches are better ;)

I'm not a fan of the Bulbish un-realistic kind of brutal tone and you have something similar going on there. But a lot of people seem to love it. It's working for Bulb. Your sound isn't quite as over-the-top as his though. You can hear what I'm talking about at the very end of your clip with the palm muted notes.
 
Thanks. But, the track was pretty much spot on as is. Sounded great.

I used the unprocessed snare and kick tracks.

For the snare, I compressed it pretty hard with RComp (-35 threshold, 26ms attack, 25 ms release, 5:1 ratio, makeup gain to taste). After that, I EQ'd out the stuff in the snare I didn't like (mainly cuts at 350, 460 and 975 all with tight Q's). I further scooped the mids a bit centered around 500Hz and added a 4dB shelf EQ at 1400Hz and then LPF at 9.8kHz.

For the kick, I compressed it a bit as well (-20dB thresh, 16ms attack, 40ms release, 2.5:1 ratio, makeup gain to taste). I then added 1.5dB at 62Hz with a gentle Q and a wide scoop centered around 430Hz.

I parallel compressed all the drum tracks (cutting the highs with a shelf EQ since the cymbals were on the tom group as well). I ended up using another shelf EQ to tame the cymbals on the tom/cymbal track itself, too, since the parallel compression brought them out a bit even with the cut. This was the best compromise without dulling the cymbals.

I compressed the bass a little bit more, but it was compressed already, hehe. It seemed to bring out the growl I like a bit more. I added a bit of a mid boost around 600Hz as well (around 1.5 dB with a wide bell shaped Q). I duped the bass track and applied a HPF around 200Hz and used the good ol' Nuendo Quadrafuzz on the HPF track to dirty up the mids highs some more and give it even more growl. In the mix, the HPF/Quadrafuzz track is about 4 dB lower in the mix than the regular bass track.

Mastering chain was pretty simple and quick:

1.Tessla SE tape saturation plug
2. Out to hardware TC Finalizer (for MB comp and softclip only)
3. back into DAW for additional Clipping plugs (x2)
4. L2

My least favorite aspect of the mix is that the snare is too loud for this type of music, IMO. Listening back, I wish I didn't have it so loud. I did this in about an hour total waiting on the Friday night pizza to get here (hehe), so I didn't reference the mix too much.
 
Just finished my 'mix', although its probably going to be terrible compared to the rest of ya >< I can only upload it tomorrow, I'm capped atm.

Didn't like most of the instrument sounds unfortunately, the kick has THE WORST top end ever, I had to replace it. Also the bass guitar has no lowend :/ (Guess thats lucky for me cos I don't know how to sidechain duck yet). I absolutely love the snare though, a little thin but its like the snare from In Flames' Reroute to Remain, which is also amazing. Would have liked to have toms separate to cymbals, as I like to parallel compress the cymbals too (brings out the sustain and helps with pumping when you compress the group) but that made the cymbals way too loud compared to the toms.
 
Here's a try at a different kick sound, which you were mainly asking for. Messed a little bit with the rest too, I'm afraid. Thanks for sharing!

http://boxstr.com/files/3359995_nwej9/Splat88ForSlate_Hoeglund.mp3

Used and abused (at least one certain person won't approve of this I'm sure :)):

Slate Kick15Z1 100% + another roomy kick blended in 33%.
Slate Snares 4Z3+4Z4 stacked, your "snare processed" track is left in there too, but fairly low. Didn't separate the replacing well enough to include all the "ghost" hits, sorry.