Hello,
At first, I did not want to mix this song, cause of the bad recording, especially the drums. I dont think mixing is a repair job. Serve good recordings and we get a good result, cause you cannot polish shit. But the vocals and the A guitar and trem guitar changed my mind.
First of all, I sliced all the drum tracks and put the pieces where they should be. Then I supported the kick and snare with just one sample of a kick and snare sound. With EQ, Compressor, Gate and Transient enhancer I came to a good result. The room track was bad and so muted it the whole song. Just a bit of reverb for the drum kit, a plate reverb for the snare. The overheads were set at a lower volume.
Further no special treatments, just a normal equing, compressing, gating. I did no surgical equing. The guitars are highpassed, the bass is splitted in two tracks, one the lows, one the highs. The lead vocal is doubled with a second track, which is soundwise the same as the first one. Ons goes into an ambience reverb, the second is left dry. The backing vocals as a whole go to the same ambience as the main vocal, but more wet. All in all I used just a little reverb. The gain guitar is very low in volume, cause it is so awful.
Here are the results:
wav: Shades of red
mp3: Shades of red
2024-APR-11 Info: Check out our current running games Mix Challenge 097 and Songwriting Competition 080.
MIX CHALLENGE - MC050 December 2018 - Winners announced
-
bluesation
- Posts: 45
- Joined: Thu Jul 12, 2018 09:38 CEST
-
UprightJoe
Re: MIX CHALLENGE - MC050 December 2018 - Submissions until 21-12-2018 11:59pm GMT+1/CET
mp3: https://www.dropbox.com/s/42k15zywo0a9e ... e.mp3?dl=0
wav: https://www.dropbox.com/s/2ixm5sw7y15pw ... e.wav?dl=0
screenshot 1: https://www.dropbox.com/s/q9tgmgduj54uw ... e.png?dl=0
screenshot 2: https://www.dropbox.com/s/846g9fpgfwftr ... e.png?dl=0
This is my first time participating in the contest - it was fun. Thanks to everybody who put this together!
Approach
First off, I didn’t think the drums and vocals were as bad as described. They have a really great vibe. From the description, I gather that Gary is looking for some creative treatment to be applied to the mix so I was a bit heavy handed with some of the panning and such. I only had a couple of days to turn this around due to travel or I would have tried to do more. FWIW, I work completely in the box using Digital Performer. I’m a big UAD enthusiast but I use plugins from a ton of different companies.
Editing
There were a few places where the drums were distractingly out of time. I manually corrected these areas by slicing and nudging the tracks. I’ll include screenshots to provide a sense of the amount of editing. It wasn’t very extreme IMO. I did a bit of pitch correction on the vocals - more on the harmonies than the lead. I removed sections of silence in the vocals to get rid of some breaths and mouth noises. I trimmed the beginning and end on the pads. I also removed EG1 and EG2 during the chorus as I felt the parts weren’t fitting the feel I was looking for.
Dynamics
I have a setup that I use which attempts to mimic Brauerization. I won’t go into all of the details but I sum everything into 4-5 busses which then get summed into a submaster which is finally routed to master. I also sum the drums to a drum bus and the vocals to a vocal bus which sends them off to an additional aux channel. This setup allows me to easily do parallel compression on the drums and vocals. Any given track tends to have multiple compressors in its chain making tiny amounts (less than 3dB) of gain reduction as needed. I usually only slam a compressor if it’s being used in parallel.
EQ
I notched out resonances in the overheads and acoustic guitar using Fabfilter. Everything else had pretty gentle EQ applied if it had anything beyond HPF or LPF. Drums were EQ’d using the UAD API Vision channel strip.
Delay / Verb
I ended up with 4 reverb channels and two delay (unusually high for me). I used the AUD AKG BX20 as my main reverb. I set three of these up. One panned hard right, and one panned hard left. For some instruments such as the acoustic guitar, I panned the instrument hard to one side and sent it to a reverb panned hard to the other. I used a plate reverb for the snare. I set up an eighth note ping pond delay and a quarter note delay that I could send various things to.
Misc Effects
I have a channel set up with a UAD Dimension D Chorus. I sent a bit of this and that to it (EG1 and EG2, pads, a bit of EGT GAIN). For the electric guitar solo, I ran it into amplitube with the amp modeling turned off so that I could access its cabinet and mic modeling. For the bass I used a UAD Ampeg SVTVR, Bass Rider, and the UAD 1176.
Automation
There was a fair bit of automation. Vocals, drums, the guitar solo, delay sends, etc...
wav: https://www.dropbox.com/s/2ixm5sw7y15pw ... e.wav?dl=0
screenshot 1: https://www.dropbox.com/s/q9tgmgduj54uw ... e.png?dl=0
screenshot 2: https://www.dropbox.com/s/846g9fpgfwftr ... e.png?dl=0
This is my first time participating in the contest - it was fun. Thanks to everybody who put this together!
Approach
First off, I didn’t think the drums and vocals were as bad as described. They have a really great vibe. From the description, I gather that Gary is looking for some creative treatment to be applied to the mix so I was a bit heavy handed with some of the panning and such. I only had a couple of days to turn this around due to travel or I would have tried to do more. FWIW, I work completely in the box using Digital Performer. I’m a big UAD enthusiast but I use plugins from a ton of different companies.
Editing
There were a few places where the drums were distractingly out of time. I manually corrected these areas by slicing and nudging the tracks. I’ll include screenshots to provide a sense of the amount of editing. It wasn’t very extreme IMO. I did a bit of pitch correction on the vocals - more on the harmonies than the lead. I removed sections of silence in the vocals to get rid of some breaths and mouth noises. I trimmed the beginning and end on the pads. I also removed EG1 and EG2 during the chorus as I felt the parts weren’t fitting the feel I was looking for.
Dynamics
I have a setup that I use which attempts to mimic Brauerization. I won’t go into all of the details but I sum everything into 4-5 busses which then get summed into a submaster which is finally routed to master. I also sum the drums to a drum bus and the vocals to a vocal bus which sends them off to an additional aux channel. This setup allows me to easily do parallel compression on the drums and vocals. Any given track tends to have multiple compressors in its chain making tiny amounts (less than 3dB) of gain reduction as needed. I usually only slam a compressor if it’s being used in parallel.
EQ
I notched out resonances in the overheads and acoustic guitar using Fabfilter. Everything else had pretty gentle EQ applied if it had anything beyond HPF or LPF. Drums were EQ’d using the UAD API Vision channel strip.
Delay / Verb
I ended up with 4 reverb channels and two delay (unusually high for me). I used the AUD AKG BX20 as my main reverb. I set three of these up. One panned hard right, and one panned hard left. For some instruments such as the acoustic guitar, I panned the instrument hard to one side and sent it to a reverb panned hard to the other. I used a plate reverb for the snare. I set up an eighth note ping pond delay and a quarter note delay that I could send various things to.
Misc Effects
I have a channel set up with a UAD Dimension D Chorus. I sent a bit of this and that to it (EG1 and EG2, pads, a bit of EGT GAIN). For the electric guitar solo, I ran it into amplitube with the amp modeling turned off so that I could access its cabinet and mic modeling. For the bass I used a UAD Ampeg SVTVR, Bass Rider, and the UAD 1176.
Automation
There was a fair bit of automation. Vocals, drums, the guitar solo, delay sends, etc...
-
Henrik Hjortnaes
- Posts: 91
- Joined: Mon Feb 05, 2018 22:03 CET
- Location: Dynaudio City, Skanderborg
Re: MIX CHALLENGE - MC050 December 2018 - Submissions until 21-12-2018 11:59pm GMT+1/CET
My mix
Shades of Red.wav
Shades of Red.mp3
General vision
Listening to the raw song a couple of times, I immediately wanted to make the mix dry, close-up, warm, big, intimate and have clarity. The vocal and drums being the main elements to take me there and to dominate. I knew the raw drums would make it challenging due to the recording. I used a lot of time on just the snare alone, and it might be the most powerful brushes you've ever heard, hehe! No drum samples are used.
Elements I really liked
The raw vocal: what a great sound to have as a singer. Great low-end power yet incredibly clear, as it bulldozes through any mix you have going - in a good way. The guitar solos were another thing I fell in love with. Read more below. Also, the song is just great and composed well.
Drum performance
I only did 1 edit to align a hit. A full mapping and re-alignment would be a big task and possibly create a domino effect on all tracks, that would take time to get right.
Guitar solos
I edited and aligned the guitar solos to the drums (solo #1 needed help the most), to have the solos be more relaxed and in-time. Very minor EQ performed. Really cool to have 2 solos in one song! I mixed them with quite a lot of reverb and delay, but kept them forward in the mix with the help of Fuse Audio Labs VCL-25A levelling amp 5 dB. I wanted the solos to stand out, so I mono'ed the tremolo- and electric guitars center and lowered them in volume during the solos.
The guitar solo sound have a lot of, should we say, tonal personality, that may not sit well with everybody, but I made sure they had lots of space in the mix and turned up loud - because full exposure is sometimes what it takes to bring out the beauty of the beast!
Snare drum
Kick bleed removed, then subtractive eq (MDW EQ5), gate (Boz +10 db), Fuse Audio Labs levelling amp VCL-4 1.5 dB, -> into Drum bus -> into Mix bus. I reduced the overly bright snare in the overheads (by eq) and bussed the snare track to 4 different effects: Snare wires, Snare extender, Snare depth, Snare amb. I guess the names are selfexplanatory. I ended up with a dry, dark, more defined and fat sounding snare. I used Soundtoys Crystalizer to lengthen it ("80s Drum Sound" preset + tweaking). I'm probably gonna use this trick on future songs which have thin short sounding snares.
Kick drum
I also struggled with the kick. I had to do enormous amounts of eq to make it sound useable, holy cow! Boz GateyWatey, Ozone EQ, bx subfilter to add low-end resonance, BRA VEQ-1P for even more low-end shaping. No track compression.
Lead vocal
Oxford Inflator, MDW EQ5 exclusively subtractive, FAL VCL-4 compressor (3 dB), Slate FG-Stress (3 dB), HOFA Deesser light deessing, Waves F6 ducking 7 kHz, HOFA deesser BUS mode ducking 2-3 kHz range, bussing the track to 2 Slate VSC reverbs, d16 Repeater delay, Soundtoys EchoBoy for depth. Everything is subtle and impressively; no additive eq thanks to the raw track. Then off to Vocal Bus (Acustica El Rey 1 dB) -> Mix Bus.
Guitars electric
I created dubbed guitars for the gain- and tremolo guitar tracks, by copying and pasting bits and pieces around. It takes time but to have them genuinely dubbed and fully panned out stereo was worth it. I also created some guitar and bass slides to improve impact. If you know the song in detail, you will hear it. Again, the original sound of these guitars and the out-of-tune way they are played, may not suit all ears, but I gave them full throttle anyway because it works.
Guitars acoustic
Worth mentioning is Eiosis Deesser for taming the high frequency strumming spikes. I just loaded the preset "Acoustic Guitar Attacks UnCrisp" and done. No more excessive poking through.
Drum Bus
Kush Clariphonic, Slate Grey compressor 1 dB and FG-MU compressor 0 dB, Boz Mongoose (monoize from 215 Hz and down 6 dB/octave).
Mix Bus
Oxford Inflator, Kush Clariphonic, Slate FG-Red compressor 1 db, MDW EQ5 (subtractive), Kush Hammer EQ, Waves F6 (dynamic ducking 129 Hz by 2 dB), Acustica El Rey compressor 1 db.
Plug-ins worth mentioning and used throughout the mix
Wavesfactory Trackspacer (for transparency), Oxford Inflator (transparent increase of instrument body), MDW EQ5 (great for subtractive eq), Boz Pan Knob (keeps panning sounding natural), Fuse Audio Labs VCL-25A and VCL-4 (transparent levelling), Acustica El Rey compressor (bumps the low end and adds "goodness"), HOFA deesser (very versatile and great sounding "frequency ducker").
A lot more is going on, on the remaining tracks, but the above is the most important / interesting. Lots of automation and minimal use of compression throughout the whole mix.
Loudness values
Export from Pro Tools
Shades of Red.wav
Shades of Red.mp3
General vision
Listening to the raw song a couple of times, I immediately wanted to make the mix dry, close-up, warm, big, intimate and have clarity. The vocal and drums being the main elements to take me there and to dominate. I knew the raw drums would make it challenging due to the recording. I used a lot of time on just the snare alone, and it might be the most powerful brushes you've ever heard, hehe! No drum samples are used.
Elements I really liked
The raw vocal: what a great sound to have as a singer. Great low-end power yet incredibly clear, as it bulldozes through any mix you have going - in a good way. The guitar solos were another thing I fell in love with. Read more below. Also, the song is just great and composed well.
Drum performance
I only did 1 edit to align a hit. A full mapping and re-alignment would be a big task and possibly create a domino effect on all tracks, that would take time to get right.
Guitar solos
I edited and aligned the guitar solos to the drums (solo #1 needed help the most), to have the solos be more relaxed and in-time. Very minor EQ performed. Really cool to have 2 solos in one song! I mixed them with quite a lot of reverb and delay, but kept them forward in the mix with the help of Fuse Audio Labs VCL-25A levelling amp 5 dB. I wanted the solos to stand out, so I mono'ed the tremolo- and electric guitars center and lowered them in volume during the solos.
The guitar solo sound have a lot of, should we say, tonal personality, that may not sit well with everybody, but I made sure they had lots of space in the mix and turned up loud - because full exposure is sometimes what it takes to bring out the beauty of the beast!
Snare drum
Kick bleed removed, then subtractive eq (MDW EQ5), gate (Boz +10 db), Fuse Audio Labs levelling amp VCL-4 1.5 dB, -> into Drum bus -> into Mix bus. I reduced the overly bright snare in the overheads (by eq) and bussed the snare track to 4 different effects: Snare wires, Snare extender, Snare depth, Snare amb. I guess the names are selfexplanatory. I ended up with a dry, dark, more defined and fat sounding snare. I used Soundtoys Crystalizer to lengthen it ("80s Drum Sound" preset + tweaking). I'm probably gonna use this trick on future songs which have thin short sounding snares.
Kick drum
I also struggled with the kick. I had to do enormous amounts of eq to make it sound useable, holy cow! Boz GateyWatey, Ozone EQ, bx subfilter to add low-end resonance, BRA VEQ-1P for even more low-end shaping. No track compression.
Lead vocal
Oxford Inflator, MDW EQ5 exclusively subtractive, FAL VCL-4 compressor (3 dB), Slate FG-Stress (3 dB), HOFA Deesser light deessing, Waves F6 ducking 7 kHz, HOFA deesser BUS mode ducking 2-3 kHz range, bussing the track to 2 Slate VSC reverbs, d16 Repeater delay, Soundtoys EchoBoy for depth. Everything is subtle and impressively; no additive eq thanks to the raw track. Then off to Vocal Bus (Acustica El Rey 1 dB) -> Mix Bus.
Guitars electric
I created dubbed guitars for the gain- and tremolo guitar tracks, by copying and pasting bits and pieces around. It takes time but to have them genuinely dubbed and fully panned out stereo was worth it. I also created some guitar and bass slides to improve impact. If you know the song in detail, you will hear it. Again, the original sound of these guitars and the out-of-tune way they are played, may not suit all ears, but I gave them full throttle anyway because it works.
Guitars acoustic
Worth mentioning is Eiosis Deesser for taming the high frequency strumming spikes. I just loaded the preset "Acoustic Guitar Attacks UnCrisp" and done. No more excessive poking through.
Drum Bus
Kush Clariphonic, Slate Grey compressor 1 dB and FG-MU compressor 0 dB, Boz Mongoose (monoize from 215 Hz and down 6 dB/octave).
Mix Bus
Oxford Inflator, Kush Clariphonic, Slate FG-Red compressor 1 db, MDW EQ5 (subtractive), Kush Hammer EQ, Waves F6 (dynamic ducking 129 Hz by 2 dB), Acustica El Rey compressor 1 db.
Plug-ins worth mentioning and used throughout the mix
Wavesfactory Trackspacer (for transparency), Oxford Inflator (transparent increase of instrument body), MDW EQ5 (great for subtractive eq), Boz Pan Knob (keeps panning sounding natural), Fuse Audio Labs VCL-25A and VCL-4 (transparent levelling), Acustica El Rey compressor (bumps the low end and adds "goodness"), HOFA deesser (very versatile and great sounding "frequency ducker").
A lot more is going on, on the remaining tracks, but the above is the most important / interesting. Lots of automation and minimal use of compression throughout the whole mix.
Loudness values
Code: Select all
MC050_-_GARYGERMAINE_-_SHADESOFRED_-_HENRIKHJORTNAES
Integrated LUFS: -16.9 LUFS
Short Term LUFS: -12.9 LUFS
True Peak: -1.0 dBTP
Peak: -1.1 dB
Dynamic Range: 9.1 DR
Loudness Range: 11.5 LU
Code: Select all
SESSION NAME: Copy of MC050_Gary_Germaine Round1 20
SAMPLE RATE: 44100.000000
BIT DEPTH: 24-bit
SESSION START TIMECODE: 00:00:00:00
TIMECODE FORMAT: 24 Frame
# OF AUDIO TRACKS: 27
# OF AUDIO CLIPS: 168
# OF AUDIO FILES: 44
P L U G - I N S L I S T I N G
MANUFACTURER PLUG-IN NAME VERSION FORMAT STEMS NUMBER OF INSTANCES
Acustica EL REY 1.0.0 AAX Native Stereo / Stereo 3 active
Black Rooster Audio VLA-3A 2.2.0 AAX Native Stereo / Stereo 1 active
VHL-3C 2.2.0 AAX Native Stereo / Stereo 1 active
VHL-3C 2.2.0 AAX Native Mono / Mono 1 inactive
VEQ-1P 2.2.0 AAX Native Mono / Mono 1 inactive
VEQ-1P 2.2.0 AAX Native Stereo / Stereo 1 active
Boz Digital Labs L8R 0.0.0 AAX Native Stereo / Stereo 1 active
L8R 0.0.0 AAX Native Mono / Stereo 1 active
Mongoose 0.0.0 AAX Native Stereo / Stereo 2 active
Gatey Watey 0.0.0 AAX Native Mono / Mono 1 inactive
Pan Knob 0.0.0 AAX Native Mono / Stereo 14 active
Plus 10 db 0.0.0 AAX Native Mono / Mono 1 inactive
D16 Group Audio Software Repeater 1.1.6 AAX Native Stereo / Stereo 4 active
Eiosis Eiosis E2Deesser 1.0.8.1 AAX Native Stereo / Stereo 1 active
Fuse Audio Labs VCL-25A 1.1.0 AAX Native Mono / Mono 2 inactive
VCL-25A 1.1.0 AAX Native Stereo / Stereo 2 active
VCL-4 1.3.0 AAX Native Mono / Mono 2 inactive
VQA-154 1.0.0 AAX Native Stereo / Stereo 1 active
HOFA HOFA IQ-DeEsser 1.0.4 AAX Native Stereo / Stereo 3 active
HOFA IQ-DeEsser 1.0.4 AAX Native Mono / Mono 3 inactive
HoRNet HoRNetTape 0.0.0 AAX Native Stereo / Stereo 2 active
IK Multimedia AmpliTube 4 0.0.0 AAX Native Mono / Mono 1 inactive
Klanghelm VUMTdeluxe 2.1.2 AAX Native Stereo / Stereo 1 active
Kush Audio Clariphonic DSP MKII 1.1.1 AAX Native Stereo / Stereo 2 active
Hammer DSP 1.0.0 AAX Native Stereo / Stereo 1 active
Massenburg Design Works MDWNEQ5 5B 1.0.0 AAX Native Mono / Mono 12 active, 5 inactive
Mastering the Mix Reference 1.1.0 AAX Native Stereo / Stereo 1 inactive
LEVELS 2.0.0 AAX Native Stereo / Stereo 1 inactive
MeldaProduction MAutoAlign 0.0.0 AAX Native Mono / Mono 6 active, 2 inactive
MAutoAlign 0.0.0 AAX Native Stereo / Stereo 1 active
Native Instruments Transient Master-AAX 1.3.1.45 AAX Native Stereo / Stereo 2 active
Plugin Alliance bx_subfilter 1.1.0 AAX Native Mono / Mono 1 inactive
Slate Digital VBC Rack 1.2.11.1 AAX Native Stereo / Stereo 1 active
VBC FG-Red 1.2.11.1 AAX Native Stereo / Stereo 1 active
Virtual Mix Rack 2.2.7.2 AAX Native Stereo / Stereo 3 active
Virtual Mix Rack 2.2.7.2 AAX Native Mono / Mono 2 inactive
VerbSuite Classics 1.0.11.1 AAX Native Stereo / Stereo 6 active
Sonarworks Sonarworks Reference 4 4.1.9.1 AAX Native Stereo / Stereo 1 inactive
Sonnox Oxford Inflator 3.0.0 AAX Native Mono / Mono 3 inactive
Oxford Inflator 3.0.0 AAX Native Stereo / Stereo 4 active
SoundToys Crystallizer 5.2.4.13670 AAX Native Stereo / Stereo 1 active
EffectRack 5.2.4.13670 AAX Native Stereo / Stereo 4 active
Waves Audio F6-RTA 9.92.52.35 AAX Native Stereo / Stereo 3 active
F6-RTA 9.92.52.35 AAX Native Mono / Mono 1 inactive
Wavesfactory SnareBuzz 1.0.0 AAX Native Stereo / Stereo 1 active
SnareBuzz 1.0.0 AAX Native Mono / Mono 2 active
Trackspacer 2.5 2.5.1 AAX Native Mono / Mono 2 active
Trackspacer 2.5 2.5.1 AAX Native Stereo / Stereo 6 active
iZotope, Inc. iZotope Trash 2 2.0.5.322 AAX Native Stereo / Stereo 2 active
Tonal Balance Control 2.0.2.3153 AAX Native Stereo / Stereo 1 active
Ozone 8 Equalizer 8.0.2.1012 AAX Native Mono / Mono 1 inactive
Ozone 8 Maximizer 8.0.2.1012 AAX Native Stereo / Stereo 1 active
T R A C K L I S T I N G
TRACK NAME: Kick
COMMENTS:
USER DELAY: 0 Samples
STATE:
PLUG-INS: MAutoAlign (mono) Gatey Watey (mono) Ozone 8 Equalizer (mono) bx_subfilter (mono) VEQ-1P (mono)
CHANNEL EVENT CLIP NAME START TIME END TIME DURATION STATE
1 1 Kick_02 1|1 82|2 81|1| 499 Unmuted
TRACK NAME: Snare.01
COMMENTS:
USER DELAY: 0 Samples
STATE:
PLUG-INS: MAutoAlign (mono) MDW Native 5B AAX Parametric EQ (mono) MDW Native 5B AAX Parametric EQ (mono) Plus 10 db (mono) VCL-4 (mono)
CHANNEL EVENT CLIP NAME START TIME END TIME DURATION STATE
1 1 Snare.01_02-01 1|1 5|2 4|1| 480 Unmuted
1 2 Snare.01_02-02 5|3 82|2 76|3| 019 Unmuted
TRACK NAME: Tom rack
COMMENTS:
USER DELAY: 0 Samples
STATE:
PLUG-INS: MAutoAlign (mono) Pan Knob (mono/stereo)
CHANNEL EVENT CLIP NAME START TIME END TIME DURATION STATE
1 1 Tom rack_03-02 1|1 5|2 4|1| 480 Unmuted
1 2 Tom rack_03-04 5|3 24|4 19|0| 538 Unmuted
1 3 Tom rack_03-03 24|4 25|1 0|1| 252 Unmuted
1 4 Tom rack_03-08 25|1 38|1 13|0| 177 Unmuted
1 5 Tom rack_03-06 38|1 39|1 0|3| 774 Unmuted
1 6 Tom rack_03-10 39|1 40|1 1|0| 153 Unmuted
1 7 Tom rack_03-07 40|1 82|2 42|1| 019 Unmuted
TRACK NAME: Tom floor
COMMENTS:
USER DELAY: 0 Samples
STATE:
PLUG-INS: MAutoAlign (mono) Pan Knob (mono/stereo)
CHANNEL EVENT CLIP NAME START TIME END TIME DURATION STATE
1 1 Tom floor_02-02 1|1 5|2 4|1| 480 Unmuted
1 2 Tom floor_02-04 5|3 24|4 19|0| 538 Unmuted
1 3 Tom floor_02-03 24|4 25|1 0|1| 252 Unmuted
1 4 Tom floor_02-08 25|1 38|1 13|0| 177 Unmuted
1 5 Tom floor_02-06 38|1 39|1 0|3| 774 Unmuted
1 6 Tom floor_02-10 39|1 40|1 1|0| 153 Unmuted
1 7 Tom floor_02-07 40|1 82|2 42|1| 019 Unmuted
TRACK NAME: EGT Lead.1.L
COMMENTS:
USER DELAY: 0 Samples
STATE: Hidden Inactive Muted
PLUG-INS:
CHANNEL EVENT CLIP NAME START TIME END TIME DURATION STATE
1 1 EGT Lead.1-01.L 1|1 5|2 4|1| 480 Unmuted
1 2 EGT Lead.1-02.L 5|3 82|2 76|3| 019 Unmuted
TRACK NAME: OH L
COMMENTS:
USER DELAY: 0 Samples
STATE:
PLUG-INS: MAutoAlign (mono)
CHANNEL EVENT CLIP NAME START TIME END TIME DURATION STATE
1 1 OH Left-13 1|1 5|2 4|1| 480 Unmuted
1 2 OH Left-14 5|3 24|4 19|0| 538 Unmuted
1 3 OH Left-05 24|4 25|1 0|1| 252 Unmuted
1 4 OH Left-10 25|1 38|1 13|0| 177 Unmuted
1 5 OH Left-08 38|1 39|1 0|3| 774 Unmuted
1 6 OH Left-12 39|1 40|1 1|0| 153 Unmuted
1 7 OH Left-09 40|1 82|2 42|1| 019 Unmuted
TRACK NAME: OH R
COMMENTS:
USER DELAY: 0 Samples
STATE:
PLUG-INS: MAutoAlign (mono)
CHANNEL EVENT CLIP NAME START TIME END TIME DURATION STATE
1 1 OH Right-13 1|1 5|2 4|1| 480 Unmuted
1 2 OH Right-14 5|3 24|4 19|0| 538 Unmuted
1 3 OH Right-05 24|4 25|1 0|1| 252 Unmuted
1 4 OH Right-10 25|1 38|1 13|0| 177 Unmuted
1 5 OH Right-08 38|1 39|1 0|3| 774 Unmuted
1 6 OH Right-12 39|1 40|1 1|0| 153 Unmuted
1 7 OH Right-09 40|1 82|2 42|1| 019 Unmuted
TRACK NAME: Room
COMMENTS:
USER DELAY: 0 Samples
STATE: Hidden Inactive
PLUG-INS:
CHANNEL EVENT CLIP NAME START TIME END TIME DURATION STATE
1 1 ROOM-02 1|1 5|2 4|1| 480 Unmuted
1 2 ROOM-03 5|3 82|2 76|3| 019 Unmuted
TRACK NAME: BASS DI
COMMENTS:
USER DELAY: 0 Samples
STATE:
PLUG-INS: VHL-3C (mono) Oxford Inflator (mono) AmpliTube 4 (mono) VCL-25A (mono) MDW Native 5B AAX Parametric EQ (mono) Trackspacer 2.5 (mono) Trackspacer 2.5 (mono)
CHANNEL EVENT CLIP NAME START TIME END TIME DURATION STATE
1 1 BASS DI-14 1|1 5|2 4|1| 480 Unmuted
1 2 BASS DI-15 5|3 24|2 18|3| 058 Unmuted
1 3 BASS DI-03 24|2 24|3 0|1| 401 Unmuted
1 4 BASS DI-05 24|3 53|2 28|2| 283 Unmuted
1 5 BASS DI-Poly 54|1 54|1 0|0| 451 Unmuted
1 6 BASS DI-12 54|1 54|3 0|1| 469 Unmuted
1 7 BASS DI-16 54|3 55|1 0|2| 323 Unmuted
1 8 BASS DI-18 55|1 55|2 0|1| 101 Unmuted
1 9 BASS DI-20 55|2 56|1 0|2| 864 Unmuted
1 10 BASS DI-22 56|1 56|2 0|1| 254 Unmuted
1 11 BASS DI-23 56|2 79|2 22|3| 201 Unmuted
TRACK NAME: V lead
COMMENTS:
USER DELAY: 0 Samples
STATE:
PLUG-INS: Oxford Inflator (mono) MDW Native 5B AAX Parametric EQ (mono) VCL-4 (mono) Virtual Mix Rack (mono) HOFA IQ-DeEsser (mono) F6-RTA (mono) HOFA IQ-DeEsser (mono)
CHANNEL EVENT CLIP NAME START TIME END TIME DURATION STATE
1 1 V.cm-05 1|1 5|2 4|1| 480 Unmuted
1 2 V.cm-06 5|3 57|2 51|3| 129 Unmuted
1 3 V.cm-03 58|2 61|4 3|2| 215 Unmuted
1 4 V.cm-04 62|4 82|2 19|2| 412 Unmuted
TRACK NAME: VOX DUP2
COMMENTS:
USER DELAY: 0 Samples
STATE:
PLUG-INS: Pan Knob (mono/stereo)
CHANNEL EVENT CLIP NAME START TIME END TIME DURATION STATE
1 1 VOX DUP2_04-01 1|1 5|2 4|1| 480 Unmuted
1 2 VOX DUP2_04-02 5|3 82|2 76|3| 019 Unmuted
TRACK NAME: VOX Dup1
COMMENTS:
USER DELAY: 0 Samples
STATE:
PLUG-INS: Pan Knob (mono/stereo)
CHANNEL EVENT CLIP NAME START TIME END TIME DURATION STATE
1 1 VOX Dup1_04-01 1|1 5|2 4|1| 480 Unmuted
1 2 VOX Dup1_04-02 5|3 82|2 76|3| 019 Unmuted
TRACK NAME: BG VOX 1
COMMENTS:
USER DELAY: 0 Samples
STATE:
PLUG-INS: Pan Knob (mono/stereo)
CHANNEL EVENT CLIP NAME START TIME END TIME DURATION STATE
1 1 BG VOX 1_02-01 1|1 5|2 4|1| 480 Unmuted
1 2 BG VOX 1_02-02 5|3 81|3 76|0| 101 Unmuted
TRACK NAME: VOX DUP
COMMENTS:
USER DELAY: 0 Samples
STATE:
PLUG-INS:
CHANNEL EVENT CLIP NAME START TIME END TIME DURATION STATE
1 1 VOX DUP_02-01 1|1 5|2 4|1| 480 Unmuted
1 2 VOX DUP_02-02 5|3 81|3 76|0| 101 Unmuted
TRACK NAME: BG VOX 2
COMMENTS:
USER DELAY: 0 Samples
STATE:
PLUG-INS: Pan Knob (mono/stereo)
CHANNEL EVENT CLIP NAME START TIME END TIME DURATION STATE
1 1 BG VOX 2_02-01 1|1 5|2 4|1| 480 Unmuted
1 2 BG VOX 2_02-02 5|3 81|3 76|0| 101 Unmuted
TRACK NAME: AG neck
COMMENTS:
USER DELAY: 0 Samples
STATE:
PLUG-INS: MAutoAlign (mono) MDW Native 5B AAX Parametric EQ (mono) Pan Knob (mono/stereo)
CHANNEL EVENT CLIP NAME START TIME END TIME DURATION STATE
1 1 AG neck_03-07 1|1 5|2 4|1| 480 Unmuted
1 2 AG neck_03-08 5|3 29|3 24|0| 009 Unmuted
1 3 AG neck_03-06 29|3 35|3 6|0| 405 Unmuted
1 4 AG neck_03-05 35|4 54|1 18|1| 115 Unmuted
1 5 AG neck_03-02 54|1 59|4 5|3| 581 Unmuted
1 6 AG neck_03-03 59|4 82|2 22|1| 697 Unmuted
TRACK NAME: AG body
COMMENTS:
USER DELAY: 0 Samples
STATE:
PLUG-INS: MAutoAlign (mono) MDW Native 5B AAX Parametric EQ (mono) Pan Knob (mono/stereo)
CHANNEL EVENT CLIP NAME START TIME END TIME DURATION STATE
1 1 AG body_03-07 1|1 5|2 4|1| 480 Unmuted
1 2 AG body_03-08 5|3 29|3 24|0| 009 Unmuted
1 3 AG body_03-06 29|3 35|3 6|0| 405 Unmuted
1 4 AG body_03-05 35|4 54|1 18|1| 115 Unmuted
1 5 AG body_03-02 54|1 59|4 5|3| 581 Unmuted
1 6 AG body_03-03 59|4 82|2 22|1| 697 Unmuted
TRACK NAME: G 1
COMMENTS:
USER DELAY: 0 Samples
STATE:
PLUG-INS: Pan Knob (mono/stereo)
CHANNEL EVENT CLIP NAME START TIME END TIME DURATION STATE
1 1 G 1_02-01 1|1 5|2 4|1| 480 Unmuted
1 2 G 1_02-02 5|3 82|2 76|3| 019 Unmuted
TRACK NAME: G 2
COMMENTS:
USER DELAY: 0 Samples
STATE:
PLUG-INS: Pan Knob (mono/stereo)
CHANNEL EVENT CLIP NAME START TIME END TIME DURATION STATE
1 1 G 2_02-01 1|1 5|2 4|1| 480 Unmuted
1 2 G 2_02-02 5|3 82|2 76|3| 019 Unmuted
TRACK NAME: G gain L
COMMENTS:
USER DELAY: 0 Samples
STATE:
PLUG-INS: Pan Knob (mono/stereo)
CHANNEL EVENT CLIP NAME START TIME END TIME DURATION STATE
1 1 G gain_01-06 1|1 5|2 4|1| 480 Unmuted
1 2 G gain_01-07 5|3 61|4 56|1| 340 Unmuted
1 3 G gain_01-02 61|4 62|3 0|2| 781 Unmuted
1 4 G gain_01-03 62|3 82|2 19|2| 818 Unmuted
TRACK NAME: G gain R
COMMENTS:
USER DELAY: 0 Samples
STATE:
PLUG-INS: Pan Knob (mono/stereo)
CHANNEL EVENT CLIP NAME START TIME END TIME DURATION STATE
1 1 G gain.dup1_02-01 1|1 5|2 4|1| 480 Unmuted
1 2 G gain.dup1_02-02 5|3 82|2 76|3| 019 Unmuted
TRACK NAME: G gain start
COMMENTS:
USER DELAY: 0 Samples
STATE:
PLUG-INS: L8R (mono/stereo)
CHANNEL EVENT CLIP NAME START TIME END TIME DURATION STATE
1 1 EGT GAIN-Reverse_01-01 29|1 29|1 0|0| 228 Unmuted
1 2 EGT GAIN-23 29|1 29|2 0|0| 162 Unmuted
1 3 EGT GAIN-07 29|2 29|2 0|0| 153 Unmuted
1 4 G gain_01-05 29|2 29|3 0|1| 193 Unmuted
1 5 EGT GAIN-07 54|1 54|1 0|0| 153 Unmuted
1 6 G gain_01-04 54|1 54|1 0|0| 285 Unmuted
1 7 G gain start_01-01 62|2 62|3 0|1| 720 Unmuted
TRACK NAME: G solo
COMMENTS:
USER DELAY: 0 Samples
STATE:
PLUG-INS: MDW Native 5B AAX Parametric EQ (mono) Oxford Inflator (mono) Virtual Mix Rack (mono) VCL-25A (mono) HOFA IQ-DeEsser (mono)
CHANNEL EVENT CLIP NAME START TIME END TIME DURATION STATE
1 1 G solo_03-01 1|1 5|2 4|1| 408 Unmuted
1 2 G solo_03-02 5|3 82|2 76|3| 019 Unmuted
TRACK NAME: G trem L
COMMENTS:
USER DELAY: 0 Samples
STATE:
PLUG-INS: Pan Knob (mono/stereo)
CHANNEL EVENT CLIP NAME START TIME END TIME DURATION STATE
1 1 G trem_01 L 1|1 81|4 80|3| 322 Unmuted
TRACK NAME: G trem R
COMMENTS:
USER DELAY: 0 Samples
STATE:
PLUG-INS: Pan Knob (mono/stereo)
CHANNEL EVENT CLIP NAME START TIME END TIME DURATION STATE
1 1 G trem_01 R 1|1 81|4 80|3| 322 Unmuted
TRACK NAME: Pad 1 (Stereo)
COMMENTS:
USER DELAY: 0 Samples
STATE:
PLUG-INS: iZotope Trash 2 (stereo)
CHANNEL EVENT CLIP NAME START TIME END TIME DURATION STATE
1 1 Pad 1-02.L 1|1 2|3 1|2| 217 Unmuted
1 2 Pad 1-03.L 2|4 3|1 0|0| 937 Muted
1 3 Pad 1-05.L 3|4 4|3 0|3| 410 Unmuted
1 4 Pad 1-06.L 4|4 5|3 0|3| 120 Muted
1 5 Pad 1-09.L 6|1 80|4 74|2| 880 Unmuted
2 1 Pad 1-02.R 1|1 2|3 1|2| 217 Unmuted
2 2 Pad 1-03.R 2|4 3|1 0|0| 937 Muted
2 3 Pad 1-05.R 3|4 4|3 0|3| 410 Unmuted
2 4 Pad 1-06.R 4|4 5|3 0|3| 120 Muted
2 5 Pad 1-09.R 6|1 80|4 74|2| 880 Unmuted
TRACK NAME: Pad 2 (Stereo)
COMMENTS:
USER DELAY: 0 Samples
STATE:
PLUG-INS: iZotope Trash 2 (stereo)
CHANNEL EVENT CLIP NAME START TIME END TIME DURATION STATE
1 1 PAD 2-05.L 1|1 2|3 1|2| 217 Unmuted
1 2 PAD 2-06.L 2|4 3|1 0|0| 937 Muted
1 3 PAD 2-08.L 3|4 4|3 0|3| 410 Unmuted
1 4 PAD 2-09.L 4|4 5|3 0|3| 120 Muted
1 5 PAD 2-12.L 6|1 74|4 68|3| 214 Unmuted
1 6 PAD 2-03.L 74|4 77|1 2|1| 224 Unmuted
1 7 PAD 2-04.L 77|1 80|4 3|2| 420 Unmuted
2 1 PAD 2-05.R 1|1 2|3 1|2| 217 Unmuted
2 2 PAD 2-06.R 2|4 3|1 0|0| 937 Muted
2 3 PAD 2-08.R 3|4 4|3 0|3| 410 Unmuted
2 4 PAD 2-09.R 4|4 5|3 0|3| 120 Muted
2 5 PAD 2-12.R 6|1 74|4 68|3| 214 Unmuted
2 6 PAD 2-03.R 74|4 77|1 2|1| 224 Unmuted
2 7 PAD 2-04.R 77|1 80|4 3|2| 420 Unmuted
-
philk
Re: MIX CHALLENGE - MC050 December 2018 - Submissions until 21-12-2018 11:59pm GMT+1/CET
Hey!
This was fun to mix. Or should I say fun to edit?
Editing took me about a whole afternoon, maybe 4-5 hours, but once I stepped down that rabbit hole, I had to do each and every channel. I really like editing and I think especially with material like this, editing is more than half of the job as I think of mixing as "taking source material and do whatever it takes to deliver something the artist might like". I tried to maintain a natural feel by not aligning every single hit, just fixing something here and there. I think it turned out great.
Once edited, this song nearly mixed itself in my opinion. For better mixing results, I built a second gain-guitar and edited the tremolo guitar in a way it would support and suit the rest of the mix, as it didn't do that right from the start in my opinion, due to tempo variations.
I worked very little on the single elements to keep a natural sound.
Drums: I supported the original drums with some samples, which I liked. Parallel Comp, EQ, Reverb, Soothe
Bass: Splitting in high and low for more control, some saturation, an ampsim for grit, EQ
Acc-Git: Comp, EQ, Reverb, Deess
E-Git: little Comp, EQ, Reverb, Delay, Soothe
Pads:: EQ, Reverb
Vocals: Editing with Revoice, Comp, EQ, Deess, Saturation, Delay, Reverb
Mix: EQ, 2dB of Buscomp, a little stereo spread, aroma, inflation, tape machine simulation
Here are my files:
https://www.dropbox.com/s/6t7rb2pe2v1uy ... k.wav?dl=0
https://www.dropbox.com/s/nss8ybr95qqyn ... k.mp3?dl=0
Thanks for your time!!
Cheers, Phil
This was fun to mix. Or should I say fun to edit?
Editing took me about a whole afternoon, maybe 4-5 hours, but once I stepped down that rabbit hole, I had to do each and every channel. I really like editing and I think especially with material like this, editing is more than half of the job as I think of mixing as "taking source material and do whatever it takes to deliver something the artist might like". I tried to maintain a natural feel by not aligning every single hit, just fixing something here and there. I think it turned out great.Once edited, this song nearly mixed itself in my opinion. For better mixing results, I built a second gain-guitar and edited the tremolo guitar in a way it would support and suit the rest of the mix, as it didn't do that right from the start in my opinion, due to tempo variations.
I worked very little on the single elements to keep a natural sound.
Drums: I supported the original drums with some samples, which I liked. Parallel Comp, EQ, Reverb, Soothe
Bass: Splitting in high and low for more control, some saturation, an ampsim for grit, EQ
Acc-Git: Comp, EQ, Reverb, Deess
E-Git: little Comp, EQ, Reverb, Delay, Soothe
Pads:: EQ, Reverb
Vocals: Editing with Revoice, Comp, EQ, Deess, Saturation, Delay, Reverb
Mix: EQ, 2dB of Buscomp, a little stereo spread, aroma, inflation, tape machine simulation
Here are my files:
https://www.dropbox.com/s/6t7rb2pe2v1uy ... k.wav?dl=0
https://www.dropbox.com/s/nss8ybr95qqyn ... k.mp3?dl=0
Thanks for your time!!
Cheers, Phil
-
jeffssoloband
- Posts: 55
- Joined: Sun Sep 16, 2018 17:36 CEST
- Location: Nashville, TN USA
- Contact:
Re: MIX CHALLENGE - MC050 December 2018 - Submissions until 21-12-2018 11:59pm GMT+1/CET
Dear Gary Germaine and the Mix Challenge Community,
Please find my submission for MC050 here:
https://www.dropbox.com/s/voz3eu0lu093f ... d.wav?dl=0
MP3 for reference:
https://www.dropbox.com/s/8om55iviazw6f ... d.mp3?dl=0
My Process: (NB- all was done ITB in Logic Pro X, no samples or additional tracks were added. Also, I did not use any tracks from the "Old Takes" folder.):
Feel free to hit me up with any questions/ comments/ concerns. Thanks for listening, and good luck to all.
Best regards,
Jeff
Please find my submission for MC050 here:
https://www.dropbox.com/s/voz3eu0lu093f ... d.wav?dl=0
MP3 for reference:
https://www.dropbox.com/s/8om55iviazw6f ... d.mp3?dl=0
My Process: (NB- all was done ITB in Logic Pro X, no samples or additional tracks were added. Also, I did not use any tracks from the "Old Takes" folder.):
- For Starters:
- Drums:
- Bass:
- Electric Guitars:
- Acoustic Guitar:
- Pads:
- Lead Vocals:
- Background Vocals:
- Putting it together:
Feel free to hit me up with any questions/ comments/ concerns. Thanks for listening, and good luck to all.
Best regards,
Jeff
-
Mister Fox
- Site Admin
- Posts: 3100
- Joined: Fri Mar 31, 2017 16:15 CEST
- Location: Berlin, Germany
Re: MIX CHALLENGE - MC050 December 2018 - Submissions until 21-12-2018 11:59pm GMT+1/CET
A friendly reminder
We're in the final 24 hours to submit your mix
We're in the final 24 hours to submit your mix
-
Franz
Re: MIX CHALLENGE - MC050 December 2018 - Submissions until 21-12-2018 11:59pm GMT+1/CET
Hi Gary, Hi everyone,
Wow, what a challenge this month ! Really fascinating ! Because you say "it's open for interpretation and experimenting".
So, the dice are thrown away. Regarding your original mix, I find it very flat, without relief or personality, sound like HI-FI.
By listening to the tracks, we are indeed surprised : taking for example the two tracks of the guitars of accompaniment
(EGT1 and EGT2) and listening to them together, this "sounds" sometimes very bizarre, almost false.
The drums has a fairly pronounced swing, and does not always seem to be in place. These are defects but it will be
necessary to transform assets through mixing. Seriously, differences in the setting of a single dB change the whole sound of the title.
For me, it's all these imperfections that make the real charm of the title. Now let's try to give a musical meaning to this sad story.
If all these tracks exist (except the old tracks that are to be excluded), it is that they represent something specific that will have
to be exploited at best. In fact, everything must be linked: the instruments and the (the) voices. And everything must be linked
(that's why, among other things, I extended the "feedback" of the guitar "metal" at the end of his second intervention
to smooth the arrival of the guitar solo).
Since there is a lot of ways to look at a painting or an image, there is so much to listen to a piece of music.
And there, these are quite personal feelings that, in principle, are not discussed ... Truce chatter, let's get down to business.
Here is the technique :
Using Reaper, Samplitude Pro 3 and mixing on Tascam 4800 with Alesis HD24
+ external effects gears (reverbs and compressors)
Note: I did not use samples but only the existing tracks
DRUMS :
_snare: equa +16 dB at 5,66 Khz and Q = 2,87
+ equa + 16 db at 140 Hz and Q = 1.20
+ equa + 6 db at 1.78 kHz and Q = 0.82
+ equa +10 db at 2 Khz and Q = 0.82
and reverb Tektronics Plate (external gear, not a plugin)
_kick: equa + 16 dB at 2.52 Khz and Q = 1.20
+ equa +18 db at 4.42 Khz and Q = 2.14
+ equa + 8 dB at 42 Hz and Q = 1.71
+ equa + 16 dB at 63 Hz and Q = 0.67
then Tascam compressor: thres = -10 dB, ratio = 10.0: 1
attack = 0 ms and release = 180 m
_OH: equa: + 14 dB at 13.5 Khz and Q = 0.38
NO “toms” tracks used (we find them in O.H. tracks)
NO “room” tracks used
BASS: use only D.I.
equa: + 14 dB at 8 khz and Q = 1.41
+ equa: + 8 dB at 88 Hz and Q = 1.41
PADS: no equa, use more reverb with external gear (Lexicon 300)
GUITAR (AGT); first mix between body and neck, then equa:
+ 4 db at 5.66 Khz and Q = 0.47
+ 6 dB at 74 Hz and Q = 2.14
+ external reverb SRV 2000 Roland
then the same guitar without equa and reverb in a plugin "Vandal" of Magix
with chorus and phasing then rendered stereo by the rains "Widener”
to arrive at a total of 3 tracks (a stereo and a mono) balancesfully.
GUITARS : electric one and two + tremolo: no equa no reverb no comp
GUITAR "metal" : I used the plugin "Vandal" of Magix "to remake another metal sound "and made the result in stereo with the plugin" Widener Polyverse " : once at 200% + a second time to 150%
then equa: + 8 dB at 2.52 Khz and Q = 1.41
and + 12 dB at 891 Hz and Q = 2.87
and all with a Lexicon 300 stereo reverb
GUITAR lead : first use of a plugin "transcend shaper" then equa :
+4 dB at 3.56 Khz and Q = 1.71 + reverb Lexicon
THE CHOIRS : no particular action, no equa, only “TC stéréo reverb” in the Tascam 4800
THE VOICE : equa: + 8 dB at 3.36 Khz and Q = 2.87
+ equa: +12 dB at 125 Hz and Q = 074
plus a very very light Lexicon 300 stereo reverb.
and to finish with the master output of the Tascam 4800 and to contain everyone arriving on the bus,
I used the compressor of this console with the following very sharp settings:
tresh: - 8 dB ratio: 1.18: 1 attack: o ms and release 5 ms simply not to exceed 0 dBvu
And here's the result :
WAV :https://www.dropbox.com/s/hu9whrj126na1 ... v.wav?dl=0
MP3 : https://www.dropbox.com/s/6zjapxfs53zhq ... 3.mp3?dl=0
Good listening, I hope you enjoy and good luck to all. And thank you Gary for this excellent title!
Cheers
Franz
Wow, what a challenge this month ! Really fascinating ! Because you say "it's open for interpretation and experimenting".
So, the dice are thrown away. Regarding your original mix, I find it very flat, without relief or personality, sound like HI-FI.
By listening to the tracks, we are indeed surprised : taking for example the two tracks of the guitars of accompaniment
(EGT1 and EGT2) and listening to them together, this "sounds" sometimes very bizarre, almost false.
The drums has a fairly pronounced swing, and does not always seem to be in place. These are defects but it will be
necessary to transform assets through mixing. Seriously, differences in the setting of a single dB change the whole sound of the title.
For me, it's all these imperfections that make the real charm of the title. Now let's try to give a musical meaning to this sad story.
If all these tracks exist (except the old tracks that are to be excluded), it is that they represent something specific that will have
to be exploited at best. In fact, everything must be linked: the instruments and the (the) voices. And everything must be linked
(that's why, among other things, I extended the "feedback" of the guitar "metal" at the end of his second intervention
to smooth the arrival of the guitar solo).
Since there is a lot of ways to look at a painting or an image, there is so much to listen to a piece of music.
And there, these are quite personal feelings that, in principle, are not discussed ... Truce chatter, let's get down to business.
Here is the technique :
Using Reaper, Samplitude Pro 3 and mixing on Tascam 4800 with Alesis HD24
+ external effects gears (reverbs and compressors)
Note: I did not use samples but only the existing tracks
DRUMS :
_snare: equa +16 dB at 5,66 Khz and Q = 2,87
+ equa + 16 db at 140 Hz and Q = 1.20
+ equa + 6 db at 1.78 kHz and Q = 0.82
+ equa +10 db at 2 Khz and Q = 0.82
and reverb Tektronics Plate (external gear, not a plugin)
_kick: equa + 16 dB at 2.52 Khz and Q = 1.20
+ equa +18 db at 4.42 Khz and Q = 2.14
+ equa + 8 dB at 42 Hz and Q = 1.71
+ equa + 16 dB at 63 Hz and Q = 0.67
then Tascam compressor: thres = -10 dB, ratio = 10.0: 1
attack = 0 ms and release = 180 m
_OH: equa: + 14 dB at 13.5 Khz and Q = 0.38
NO “toms” tracks used (we find them in O.H. tracks)
NO “room” tracks used
BASS: use only D.I.
equa: + 14 dB at 8 khz and Q = 1.41
+ equa: + 8 dB at 88 Hz and Q = 1.41
PADS: no equa, use more reverb with external gear (Lexicon 300)
GUITAR (AGT); first mix between body and neck, then equa:
+ 4 db at 5.66 Khz and Q = 0.47
+ 6 dB at 74 Hz and Q = 2.14
+ external reverb SRV 2000 Roland
then the same guitar without equa and reverb in a plugin "Vandal" of Magix
with chorus and phasing then rendered stereo by the rains "Widener”
to arrive at a total of 3 tracks (a stereo and a mono) balancesfully.
GUITARS : electric one and two + tremolo: no equa no reverb no comp
GUITAR "metal" : I used the plugin "Vandal" of Magix "to remake another metal sound "and made the result in stereo with the plugin" Widener Polyverse " : once at 200% + a second time to 150%
then equa: + 8 dB at 2.52 Khz and Q = 1.41
and + 12 dB at 891 Hz and Q = 2.87
and all with a Lexicon 300 stereo reverb
GUITAR lead : first use of a plugin "transcend shaper" then equa :
+4 dB at 3.56 Khz and Q = 1.71 + reverb Lexicon
THE CHOIRS : no particular action, no equa, only “TC stéréo reverb” in the Tascam 4800
THE VOICE : equa: + 8 dB at 3.36 Khz and Q = 2.87
+ equa: +12 dB at 125 Hz and Q = 074
plus a very very light Lexicon 300 stereo reverb.
and to finish with the master output of the Tascam 4800 and to contain everyone arriving on the bus,
I used the compressor of this console with the following very sharp settings:
tresh: - 8 dB ratio: 1.18: 1 attack: o ms and release 5 ms simply not to exceed 0 dBvu
And here's the result :
WAV :https://www.dropbox.com/s/hu9whrj126na1 ... v.wav?dl=0
MP3 : https://www.dropbox.com/s/6zjapxfs53zhq ... 3.mp3?dl=0
Good listening, I hope you enjoy and good luck to all. And thank you Gary for this excellent title!
Cheers
Franz
-
s&f
Re: MIX CHALLENGE - MC050 December 2018 - Submissions until 21-12-2018 11:59pm GMT+1/CET
I found this mix great!!! wow, nice job!!! any chance u can share the project so I can study what u did? if u can't I totally understand. good job!!!Henrik Hjortnaes wrote: ↑Thu Dec 20, 2018 22:24 CETMy mix
Shades of Red.wav
Shades of Red.mp3
General vision
Listening to the raw song a couple of times, I immediately wanted to make the mix dry, close-up, warm, big, intimate and have clarity. The vocal and drums being the main elements to take me there and to dominate. I knew the raw drums would make it challenging due to the recording. I used a lot of time on just the snare alone, and it might be the most powerful brushes you've ever heard, hehe! No drum samples are used.
Elements I really liked
The raw vocal: what a great sound to have as a singer. Great low-end power yet incredibly clear, as it bulldozes through any mix you have going - in a good way. The guitar solos were another thing I fell in love with. Read more below. Also, the song is just great and composed well.
Drum performance
I only did 1 edit to align a hit. A full mapping and re-alignment would be a big task and possibly create a domino effect on all tracks, that would take time to get right.
Guitar solos
I edited and aligned the guitar solos to the drums (solo #1 needed help the most), to have the solos be more relaxed and in-time. Very minor EQ performed. Really cool to have 2 solos in one song! I mixed them with quite a lot of reverb and delay, but kept them forward in the mix with the help of Fuse Audio Labs VCL-25A levelling amp 5 dB. I wanted the solos to stand out, so I mono'ed the tremolo- and electric guitars center and lowered them in volume during the solos.
The guitar solo sound have a lot of, should we say, tonal personality, that may not sit well with everybody, but I made sure they had lots of space in the mix and turned up loud - because full exposure is sometimes what it takes to bring out the beauty of the beast!
Snare drum
Kick bleed removed, then subtractive eq (MDW EQ5), gate (Boz +10 db), Fuse Audio Labs levelling amp VCL-4 1.5 dB, -> into Drum bus -> into Mix bus. I reduced the overly bright snare in the overheads (by eq) and bussed the snare track to 4 different effects: Snare wires, Snare extender, Snare depth, Snare amb. I guess the names are selfexplanatory. I ended up with a dry, dark, more defined and fat sounding snare. I used Soundtoys Crystalizer to lengthen it ("80s Drum Sound" preset + tweaking). I'm probably gonna use this trick on future songs which have thin short sounding snares.
Kick drum
I also struggled with the kick. I had to do enormous amounts of eq to make it sound useable, holy cow! Boz GateyWatey, Ozone EQ, bx subfilter to add low-end resonance, BRA VEQ-1P for even more low-end shaping. No track compression.
Lead vocal
Oxford Inflator, MDW EQ5 exclusively subtractive, FAL VCL-4 compressor (3 dB), Slate FG-Stress (3 dB), HOFA Deesser light deessing, Waves F6 ducking 7 kHz, HOFA deesser BUS mode ducking 2-3 kHz range, bussing the track to 2 Slate VSC reverbs, d16 Repeater delay, Soundtoys EchoBoy for depth. Everything is subtle and impressively; no additive eq thanks to the raw track. Then off to Vocal Bus (Acustica El Rey 1 dB) -> Mix Bus.
Guitars electric
I created dubbed guitars for the gain- and tremolo guitar tracks, by copying and pasting bits and pieces around. It takes time but to have them genuinely dubbed and fully panned out stereo was worth it. I also created some guitar and bass slides to improve impact. If you know the song in detail, you will hear it. Again, the original sound of these guitars and the out-of-tune way they are played, may not suit all ears, but I gave them full throttle anyway because it works.
Guitars acoustic
Worth mentioning is Eiosis Deesser for taming the high frequency strumming spikes. I just loaded the preset "Acoustic Guitar Attacks UnCrisp" and done. No more excessive poking through.
Drum Bus
Kush Clariphonic, Slate Grey compressor 1 dB and FG-MU compressor 0 dB, Boz Mongoose (monoize from 215 Hz and down 6 dB/octave).
Mix Bus
Oxford Inflator, Kush Clariphonic, Slate FG-Red compressor 1 db, MDW EQ5 (subtractive), Kush Hammer EQ, Waves F6 (dynamic ducking 129 Hz by 2 dB), Acustica El Rey compressor 1 db.
Plug-ins worth mentioning and used throughout the mix
Wavesfactory Trackspacer (for transparency), Oxford Inflator (transparent increase of instrument body), MDW EQ5 (great for subtractive eq), Boz Pan Knob (keeps panning sounding natural), Fuse Audio Labs VCL-25A and VCL-4 (transparent levelling), Acustica El Rey compressor (bumps the low end and adds "goodness"), HOFA deesser (very versatile and great sounding "frequency ducker").
A lot more is going on, on the remaining tracks, but the above is the most important / interesting. Lots of automation and minimal use of compression throughout the whole mix.
Loudness valuesExport from Pro ToolsCode: Select all
MC050_-_GARYGERMAINE_-_SHADESOFRED_-_HENRIKHJORTNAES Integrated LUFS: -16.9 LUFS Short Term LUFS: -12.9 LUFS True Peak: -1.0 dBTP Peak: -1.1 dB Dynamic Range: 9.1 DR Loudness Range: 11.5 LUCode: Select all
SESSION NAME: Copy of MC050_Gary_Germaine Round1 20 SAMPLE RATE: 44100.000000 BIT DEPTH: 24-bit SESSION START TIMECODE: 00:00:00:00 TIMECODE FORMAT: 24 Frame # OF AUDIO TRACKS: 27 # OF AUDIO CLIPS: 168 # OF AUDIO FILES: 44 P L U G - I N S L I S T I N G MANUFACTURER PLUG-IN NAME VERSION FORMAT STEMS NUMBER OF INSTANCES Acustica EL REY 1.0.0 AAX Native Stereo / Stereo 3 active Black Rooster Audio VLA-3A 2.2.0 AAX Native Stereo / Stereo 1 active VHL-3C 2.2.0 AAX Native Stereo / Stereo 1 active VHL-3C 2.2.0 AAX Native Mono / Mono 1 inactive VEQ-1P 2.2.0 AAX Native Mono / Mono 1 inactive VEQ-1P 2.2.0 AAX Native Stereo / Stereo 1 active Boz Digital Labs L8R 0.0.0 AAX Native Stereo / Stereo 1 active L8R 0.0.0 AAX Native Mono / Stereo 1 active Mongoose 0.0.0 AAX Native Stereo / Stereo 2 active Gatey Watey 0.0.0 AAX Native Mono / Mono 1 inactive Pan Knob 0.0.0 AAX Native Mono / Stereo 14 active Plus 10 db 0.0.0 AAX Native Mono / Mono 1 inactive D16 Group Audio Software Repeater 1.1.6 AAX Native Stereo / Stereo 4 active Eiosis Eiosis E2Deesser 1.0.8.1 AAX Native Stereo / Stereo 1 active Fuse Audio Labs VCL-25A 1.1.0 AAX Native Mono / Mono 2 inactive VCL-25A 1.1.0 AAX Native Stereo / Stereo 2 active VCL-4 1.3.0 AAX Native Mono / Mono 2 inactive VQA-154 1.0.0 AAX Native Stereo / Stereo 1 active HOFA HOFA IQ-DeEsser 1.0.4 AAX Native Stereo / Stereo 3 active HOFA IQ-DeEsser 1.0.4 AAX Native Mono / Mono 3 inactive HoRNet HoRNetTape 0.0.0 AAX Native Stereo / Stereo 2 active IK Multimedia AmpliTube 4 0.0.0 AAX Native Mono / Mono 1 inactive Klanghelm VUMTdeluxe 2.1.2 AAX Native Stereo / Stereo 1 active Kush Audio Clariphonic DSP MKII 1.1.1 AAX Native Stereo / Stereo 2 active Hammer DSP 1.0.0 AAX Native Stereo / Stereo 1 active Massenburg Design Works MDWNEQ5 5B 1.0.0 AAX Native Mono / Mono 12 active, 5 inactive Mastering the Mix Reference 1.1.0 AAX Native Stereo / Stereo 1 inactive LEVELS 2.0.0 AAX Native Stereo / Stereo 1 inactive MeldaProduction MAutoAlign 0.0.0 AAX Native Mono / Mono 6 active, 2 inactive MAutoAlign 0.0.0 AAX Native Stereo / Stereo 1 active Native Instruments Transient Master-AAX 1.3.1.45 AAX Native Stereo / Stereo 2 active Plugin Alliance bx_subfilter 1.1.0 AAX Native Mono / Mono 1 inactive Slate Digital VBC Rack 1.2.11.1 AAX Native Stereo / Stereo 1 active VBC FG-Red 1.2.11.1 AAX Native Stereo / Stereo 1 active Virtual Mix Rack 2.2.7.2 AAX Native Stereo / Stereo 3 active Virtual Mix Rack 2.2.7.2 AAX Native Mono / Mono 2 inactive VerbSuite Classics 1.0.11.1 AAX Native Stereo / Stereo 6 active Sonarworks Sonarworks Reference 4 4.1.9.1 AAX Native Stereo / Stereo 1 inactive Sonnox Oxford Inflator 3.0.0 AAX Native Mono / Mono 3 inactive Oxford Inflator 3.0.0 AAX Native Stereo / Stereo 4 active SoundToys Crystallizer 5.2.4.13670 AAX Native Stereo / Stereo 1 active EffectRack 5.2.4.13670 AAX Native Stereo / Stereo 4 active Waves Audio F6-RTA 9.92.52.35 AAX Native Stereo / Stereo 3 active F6-RTA 9.92.52.35 AAX Native Mono / Mono 1 inactive Wavesfactory SnareBuzz 1.0.0 AAX Native Stereo / Stereo 1 active SnareBuzz 1.0.0 AAX Native Mono / Mono 2 active Trackspacer 2.5 2.5.1 AAX Native Mono / Mono 2 active Trackspacer 2.5 2.5.1 AAX Native Stereo / Stereo 6 active iZotope, Inc. iZotope Trash 2 2.0.5.322 AAX Native Stereo / Stereo 2 active Tonal Balance Control 2.0.2.3153 AAX Native Stereo / Stereo 1 active Ozone 8 Equalizer 8.0.2.1012 AAX Native Mono / Mono 1 inactive Ozone 8 Maximizer 8.0.2.1012 AAX Native Stereo / Stereo 1 active T R A C K L I S T I N G TRACK NAME: Kick COMMENTS: USER DELAY: 0 Samples STATE: PLUG-INS: MAutoAlign (mono) Gatey Watey (mono) Ozone 8 Equalizer (mono) bx_subfilter (mono) VEQ-1P (mono) CHANNEL EVENT CLIP NAME START TIME END TIME DURATION STATE 1 1 Kick_02 1|1 82|2 81|1| 499 Unmuted TRACK NAME: Snare.01 COMMENTS: USER DELAY: 0 Samples STATE: PLUG-INS: MAutoAlign (mono) MDW Native 5B AAX Parametric EQ (mono) MDW Native 5B AAX Parametric EQ (mono) Plus 10 db (mono) VCL-4 (mono) CHANNEL EVENT CLIP NAME START TIME END TIME DURATION STATE 1 1 Snare.01_02-01 1|1 5|2 4|1| 480 Unmuted 1 2 Snare.01_02-02 5|3 82|2 76|3| 019 Unmuted TRACK NAME: Tom rack COMMENTS: USER DELAY: 0 Samples STATE: PLUG-INS: MAutoAlign (mono) Pan Knob (mono/stereo) CHANNEL EVENT CLIP NAME START TIME END TIME DURATION STATE 1 1 Tom rack_03-02 1|1 5|2 4|1| 480 Unmuted 1 2 Tom rack_03-04 5|3 24|4 19|0| 538 Unmuted 1 3 Tom rack_03-03 24|4 25|1 0|1| 252 Unmuted 1 4 Tom rack_03-08 25|1 38|1 13|0| 177 Unmuted 1 5 Tom rack_03-06 38|1 39|1 0|3| 774 Unmuted 1 6 Tom rack_03-10 39|1 40|1 1|0| 153 Unmuted 1 7 Tom rack_03-07 40|1 82|2 42|1| 019 Unmuted TRACK NAME: Tom floor COMMENTS: USER DELAY: 0 Samples STATE: PLUG-INS: MAutoAlign (mono) Pan Knob (mono/stereo) CHANNEL EVENT CLIP NAME START TIME END TIME DURATION STATE 1 1 Tom floor_02-02 1|1 5|2 4|1| 480 Unmuted 1 2 Tom floor_02-04 5|3 24|4 19|0| 538 Unmuted 1 3 Tom floor_02-03 24|4 25|1 0|1| 252 Unmuted 1 4 Tom floor_02-08 25|1 38|1 13|0| 177 Unmuted 1 5 Tom floor_02-06 38|1 39|1 0|3| 774 Unmuted 1 6 Tom floor_02-10 39|1 40|1 1|0| 153 Unmuted 1 7 Tom floor_02-07 40|1 82|2 42|1| 019 Unmuted TRACK NAME: EGT Lead.1.L COMMENTS: USER DELAY: 0 Samples STATE: Hidden Inactive Muted PLUG-INS: CHANNEL EVENT CLIP NAME START TIME END TIME DURATION STATE 1 1 EGT Lead.1-01.L 1|1 5|2 4|1| 480 Unmuted 1 2 EGT Lead.1-02.L 5|3 82|2 76|3| 019 Unmuted TRACK NAME: OH L COMMENTS: USER DELAY: 0 Samples STATE: PLUG-INS: MAutoAlign (mono) CHANNEL EVENT CLIP NAME START TIME END TIME DURATION STATE 1 1 OH Left-13 1|1 5|2 4|1| 480 Unmuted 1 2 OH Left-14 5|3 24|4 19|0| 538 Unmuted 1 3 OH Left-05 24|4 25|1 0|1| 252 Unmuted 1 4 OH Left-10 25|1 38|1 13|0| 177 Unmuted 1 5 OH Left-08 38|1 39|1 0|3| 774 Unmuted 1 6 OH Left-12 39|1 40|1 1|0| 153 Unmuted 1 7 OH Left-09 40|1 82|2 42|1| 019 Unmuted TRACK NAME: OH R COMMENTS: USER DELAY: 0 Samples STATE: PLUG-INS: MAutoAlign (mono) CHANNEL EVENT CLIP NAME START TIME END TIME DURATION STATE 1 1 OH Right-13 1|1 5|2 4|1| 480 Unmuted 1 2 OH Right-14 5|3 24|4 19|0| 538 Unmuted 1 3 OH Right-05 24|4 25|1 0|1| 252 Unmuted 1 4 OH Right-10 25|1 38|1 13|0| 177 Unmuted 1 5 OH Right-08 38|1 39|1 0|3| 774 Unmuted 1 6 OH Right-12 39|1 40|1 1|0| 153 Unmuted 1 7 OH Right-09 40|1 82|2 42|1| 019 Unmuted TRACK NAME: Room COMMENTS: USER DELAY: 0 Samples STATE: Hidden Inactive PLUG-INS: CHANNEL EVENT CLIP NAME START TIME END TIME DURATION STATE 1 1 ROOM-02 1|1 5|2 4|1| 480 Unmuted 1 2 ROOM-03 5|3 82|2 76|3| 019 Unmuted TRACK NAME: BASS DI COMMENTS: USER DELAY: 0 Samples STATE: PLUG-INS: VHL-3C (mono) Oxford Inflator (mono) AmpliTube 4 (mono) VCL-25A (mono) MDW Native 5B AAX Parametric EQ (mono) Trackspacer 2.5 (mono) Trackspacer 2.5 (mono) CHANNEL EVENT CLIP NAME START TIME END TIME DURATION STATE 1 1 BASS DI-14 1|1 5|2 4|1| 480 Unmuted 1 2 BASS DI-15 5|3 24|2 18|3| 058 Unmuted 1 3 BASS DI-03 24|2 24|3 0|1| 401 Unmuted 1 4 BASS DI-05 24|3 53|2 28|2| 283 Unmuted 1 5 BASS DI-Poly 54|1 54|1 0|0| 451 Unmuted 1 6 BASS DI-12 54|1 54|3 0|1| 469 Unmuted 1 7 BASS DI-16 54|3 55|1 0|2| 323 Unmuted 1 8 BASS DI-18 55|1 55|2 0|1| 101 Unmuted 1 9 BASS DI-20 55|2 56|1 0|2| 864 Unmuted 1 10 BASS DI-22 56|1 56|2 0|1| 254 Unmuted 1 11 BASS DI-23 56|2 79|2 22|3| 201 Unmuted TRACK NAME: V lead COMMENTS: USER DELAY: 0 Samples STATE: PLUG-INS: Oxford Inflator (mono) MDW Native 5B AAX Parametric EQ (mono) VCL-4 (mono) Virtual Mix Rack (mono) HOFA IQ-DeEsser (mono) F6-RTA (mono) HOFA IQ-DeEsser (mono) CHANNEL EVENT CLIP NAME START TIME END TIME DURATION STATE 1 1 V.cm-05 1|1 5|2 4|1| 480 Unmuted 1 2 V.cm-06 5|3 57|2 51|3| 129 Unmuted 1 3 V.cm-03 58|2 61|4 3|2| 215 Unmuted 1 4 V.cm-04 62|4 82|2 19|2| 412 Unmuted TRACK NAME: VOX DUP2 COMMENTS: USER DELAY: 0 Samples STATE: PLUG-INS: Pan Knob (mono/stereo) CHANNEL EVENT CLIP NAME START TIME END TIME DURATION STATE 1 1 VOX DUP2_04-01 1|1 5|2 4|1| 480 Unmuted 1 2 VOX DUP2_04-02 5|3 82|2 76|3| 019 Unmuted TRACK NAME: VOX Dup1 COMMENTS: USER DELAY: 0 Samples STATE: PLUG-INS: Pan Knob (mono/stereo) CHANNEL EVENT CLIP NAME START TIME END TIME DURATION STATE 1 1 VOX Dup1_04-01 1|1 5|2 4|1| 480 Unmuted 1 2 VOX Dup1_04-02 5|3 82|2 76|3| 019 Unmuted TRACK NAME: BG VOX 1 COMMENTS: USER DELAY: 0 Samples STATE: PLUG-INS: Pan Knob (mono/stereo) CHANNEL EVENT CLIP NAME START TIME END TIME DURATION STATE 1 1 BG VOX 1_02-01 1|1 5|2 4|1| 480 Unmuted 1 2 BG VOX 1_02-02 5|3 81|3 76|0| 101 Unmuted TRACK NAME: VOX DUP COMMENTS: USER DELAY: 0 Samples STATE: PLUG-INS: CHANNEL EVENT CLIP NAME START TIME END TIME DURATION STATE 1 1 VOX DUP_02-01 1|1 5|2 4|1| 480 Unmuted 1 2 VOX DUP_02-02 5|3 81|3 76|0| 101 Unmuted TRACK NAME: BG VOX 2 COMMENTS: USER DELAY: 0 Samples STATE: PLUG-INS: Pan Knob (mono/stereo) CHANNEL EVENT CLIP NAME START TIME END TIME DURATION STATE 1 1 BG VOX 2_02-01 1|1 5|2 4|1| 480 Unmuted 1 2 BG VOX 2_02-02 5|3 81|3 76|0| 101 Unmuted TRACK NAME: AG neck COMMENTS: USER DELAY: 0 Samples STATE: PLUG-INS: MAutoAlign (mono) MDW Native 5B AAX Parametric EQ (mono) Pan Knob (mono/stereo) CHANNEL EVENT CLIP NAME START TIME END TIME DURATION STATE 1 1 AG neck_03-07 1|1 5|2 4|1| 480 Unmuted 1 2 AG neck_03-08 5|3 29|3 24|0| 009 Unmuted 1 3 AG neck_03-06 29|3 35|3 6|0| 405 Unmuted 1 4 AG neck_03-05 35|4 54|1 18|1| 115 Unmuted 1 5 AG neck_03-02 54|1 59|4 5|3| 581 Unmuted 1 6 AG neck_03-03 59|4 82|2 22|1| 697 Unmuted TRACK NAME: AG body COMMENTS: USER DELAY: 0 Samples STATE: PLUG-INS: MAutoAlign (mono) MDW Native 5B AAX Parametric EQ (mono) Pan Knob (mono/stereo) CHANNEL EVENT CLIP NAME START TIME END TIME DURATION STATE 1 1 AG body_03-07 1|1 5|2 4|1| 480 Unmuted 1 2 AG body_03-08 5|3 29|3 24|0| 009 Unmuted 1 3 AG body_03-06 29|3 35|3 6|0| 405 Unmuted 1 4 AG body_03-05 35|4 54|1 18|1| 115 Unmuted 1 5 AG body_03-02 54|1 59|4 5|3| 581 Unmuted 1 6 AG body_03-03 59|4 82|2 22|1| 697 Unmuted TRACK NAME: G 1 COMMENTS: USER DELAY: 0 Samples STATE: PLUG-INS: Pan Knob (mono/stereo) CHANNEL EVENT CLIP NAME START TIME END TIME DURATION STATE 1 1 G 1_02-01 1|1 5|2 4|1| 480 Unmuted 1 2 G 1_02-02 5|3 82|2 76|3| 019 Unmuted TRACK NAME: G 2 COMMENTS: USER DELAY: 0 Samples STATE: PLUG-INS: Pan Knob (mono/stereo) CHANNEL EVENT CLIP NAME START TIME END TIME DURATION STATE 1 1 G 2_02-01 1|1 5|2 4|1| 480 Unmuted 1 2 G 2_02-02 5|3 82|2 76|3| 019 Unmuted TRACK NAME: G gain L COMMENTS: USER DELAY: 0 Samples STATE: PLUG-INS: Pan Knob (mono/stereo) CHANNEL EVENT CLIP NAME START TIME END TIME DURATION STATE 1 1 G gain_01-06 1|1 5|2 4|1| 480 Unmuted 1 2 G gain_01-07 5|3 61|4 56|1| 340 Unmuted 1 3 G gain_01-02 61|4 62|3 0|2| 781 Unmuted 1 4 G gain_01-03 62|3 82|2 19|2| 818 Unmuted TRACK NAME: G gain R COMMENTS: USER DELAY: 0 Samples STATE: PLUG-INS: Pan Knob (mono/stereo) CHANNEL EVENT CLIP NAME START TIME END TIME DURATION STATE 1 1 G gain.dup1_02-01 1|1 5|2 4|1| 480 Unmuted 1 2 G gain.dup1_02-02 5|3 82|2 76|3| 019 Unmuted TRACK NAME: G gain start COMMENTS: USER DELAY: 0 Samples STATE: PLUG-INS: L8R (mono/stereo) CHANNEL EVENT CLIP NAME START TIME END TIME DURATION STATE 1 1 EGT GAIN-Reverse_01-01 29|1 29|1 0|0| 228 Unmuted 1 2 EGT GAIN-23 29|1 29|2 0|0| 162 Unmuted 1 3 EGT GAIN-07 29|2 29|2 0|0| 153 Unmuted 1 4 G gain_01-05 29|2 29|3 0|1| 193 Unmuted 1 5 EGT GAIN-07 54|1 54|1 0|0| 153 Unmuted 1 6 G gain_01-04 54|1 54|1 0|0| 285 Unmuted 1 7 G gain start_01-01 62|2 62|3 0|1| 720 Unmuted TRACK NAME: G solo COMMENTS: USER DELAY: 0 Samples STATE: PLUG-INS: MDW Native 5B AAX Parametric EQ (mono) Oxford Inflator (mono) Virtual Mix Rack (mono) VCL-25A (mono) HOFA IQ-DeEsser (mono) CHANNEL EVENT CLIP NAME START TIME END TIME DURATION STATE 1 1 G solo_03-01 1|1 5|2 4|1| 408 Unmuted 1 2 G solo_03-02 5|3 82|2 76|3| 019 Unmuted TRACK NAME: G trem L COMMENTS: USER DELAY: 0 Samples STATE: PLUG-INS: Pan Knob (mono/stereo) CHANNEL EVENT CLIP NAME START TIME END TIME DURATION STATE 1 1 G trem_01 L 1|1 81|4 80|3| 322 Unmuted TRACK NAME: G trem R COMMENTS: USER DELAY: 0 Samples STATE: PLUG-INS: Pan Knob (mono/stereo) CHANNEL EVENT CLIP NAME START TIME END TIME DURATION STATE 1 1 G trem_01 R 1|1 81|4 80|3| 322 Unmuted TRACK NAME: Pad 1 (Stereo) COMMENTS: USER DELAY: 0 Samples STATE: PLUG-INS: iZotope Trash 2 (stereo) CHANNEL EVENT CLIP NAME START TIME END TIME DURATION STATE 1 1 Pad 1-02.L 1|1 2|3 1|2| 217 Unmuted 1 2 Pad 1-03.L 2|4 3|1 0|0| 937 Muted 1 3 Pad 1-05.L 3|4 4|3 0|3| 410 Unmuted 1 4 Pad 1-06.L 4|4 5|3 0|3| 120 Muted 1 5 Pad 1-09.L 6|1 80|4 74|2| 880 Unmuted 2 1 Pad 1-02.R 1|1 2|3 1|2| 217 Unmuted 2 2 Pad 1-03.R 2|4 3|1 0|0| 937 Muted 2 3 Pad 1-05.R 3|4 4|3 0|3| 410 Unmuted 2 4 Pad 1-06.R 4|4 5|3 0|3| 120 Muted 2 5 Pad 1-09.R 6|1 80|4 74|2| 880 Unmuted TRACK NAME: Pad 2 (Stereo) COMMENTS: USER DELAY: 0 Samples STATE: PLUG-INS: iZotope Trash 2 (stereo) CHANNEL EVENT CLIP NAME START TIME END TIME DURATION STATE 1 1 PAD 2-05.L 1|1 2|3 1|2| 217 Unmuted 1 2 PAD 2-06.L 2|4 3|1 0|0| 937 Muted 1 3 PAD 2-08.L 3|4 4|3 0|3| 410 Unmuted 1 4 PAD 2-09.L 4|4 5|3 0|3| 120 Muted 1 5 PAD 2-12.L 6|1 74|4 68|3| 214 Unmuted 1 6 PAD 2-03.L 74|4 77|1 2|1| 224 Unmuted 1 7 PAD 2-04.L 77|1 80|4 3|2| 420 Unmuted 2 1 PAD 2-05.R 1|1 2|3 1|2| 217 Unmuted 2 2 PAD 2-06.R 2|4 3|1 0|0| 937 Muted 2 3 PAD 2-08.R 3|4 4|3 0|3| 410 Unmuted 2 4 PAD 2-09.R 4|4 5|3 0|3| 120 Muted 2 5 PAD 2-12.R 6|1 74|4 68|3| 214 Unmuted 2 6 PAD 2-03.R 74|4 77|1 2|1| 224 Unmuted 2 7 PAD 2-04.R 77|1 80|4 3|2| 420 Unmuted
I was going to participate in this challenge but got too busy. what a great song. I think it deserves a re - record. ur voice is really nice on this record!!!! congrats
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kevin gobin
Re: MIX CHALLENGE - MC050 December 2018 - Submissions until 21-12-2018 11:59pm GMT+1/CET
Hi!
What a great singer!!!
https://www.dropbox.com/s/mz9jy81hap5fp ... n.wav?dl=0
https://www.dropbox.com/s/62fut3c6kyjtt ... n.mp3?dl=0
What I tried to achieve first was a kind of vintage David Bowie sounding mix. Do not ask me why.
My eq and pan settings are what you mostly hearI think.
A little reverb here and there, delays too.
I used no samples on drums.
I played with a little chorus and tremolo on electric clean guitars to add depth and homogeneity with what I had.
I added a bit of echo and magnetic sauce on the guitar solos.
I used a 2 mix busses technique (one clean one compressed) to stay clean but still dense and excited.
Then I tried to add entertainment with automation.
I can explain further if anyone asks.
Good luck Gary with the thousands of listenings!!!
Merry Xmas everybody.
See you soon.
What a great singer!!!
https://www.dropbox.com/s/mz9jy81hap5fp ... n.wav?dl=0
https://www.dropbox.com/s/62fut3c6kyjtt ... n.mp3?dl=0
What I tried to achieve first was a kind of vintage David Bowie sounding mix. Do not ask me why.
My eq and pan settings are what you mostly hearI think.
A little reverb here and there, delays too.
I used no samples on drums.
I played with a little chorus and tremolo on electric clean guitars to add depth and homogeneity with what I had.
I added a bit of echo and magnetic sauce on the guitar solos.
I used a 2 mix busses technique (one clean one compressed) to stay clean but still dense and excited.
Then I tried to add entertainment with automation.
I can explain further if anyone asks.
Good luck Gary with the thousands of listenings!!!
Merry Xmas everybody.
See you soon.
Last edited by kevin gobin on Fri Dec 21, 2018 17:40 CET, edited 1 time in total.
-
guiZgui
Re: MIX CHALLENGE - MC050 December 2018 - Submissions until 21-12-2018 11:59pm GMT+1/CET
kevin gobin wrote: ↑Fri Dec 21, 2018 15:58 CETHi!
What a great singer!!!
https://www.dropbox.com/s/6k8hlubine83t ... 2.mp3?dl=0
https://www.dropbox.com/s/n3dh1y3lrnw8k ... 2.wav?dl=0
Hi Kevin gobin !
just to say that you put the wrong link, it leads to the previous mix challenge track !
Cheers
See you soon.