MIX CHALLENGE - MC086 June 2022 - Winners announced

[ThaSome]

Hello guys!

I loved to mix this track and this was a fenomenal opportunity to try to mix this genre.
It's an splendid production and was very enjoyable to learn with it.

I've been working thru FL Studio, most of my work has been using Fruity Soft Clipper and Fruity Fast distortion,
and for some stems as hi-hats I've managed to use Fruity love Philter to make a gentle low pass.

https://drive.google.com/file/d/1Qu4HZi ... sp=sharing

Thank you and good luck all.

[hjchjc]

I love mixing this contributor's stuff!

All tracks were EQ'd, compressed, etc with Scheps Omni Channel unless otherwise noted
Kick extra: Arturia Juno Chorus

Snare has Rubber Band Compressor, H-Delay, an EQ with a low cut at 250 hz and a dip at 5k, as well as sends to a further H-delay and Valhalla Vintage Verb

05 Hat 2 has a dynamic EQ in addition to the Scheps

10 Perc Loop 2 has a side signal boost at around 2k and an ADT effect added

11 Marching Snare is the most interesting one - I side chained it to 04 Snare, then enhanced the Ab and C resonances at 415 and 523 hz in the side signal then sent that through ShapeShifter for aggression, Protoverb for space, and TAIP for distorting some of the transients. Also sent to a different H-Delay than the other snare.

15 Foley 2 has Protoverb for a bit more decay

17 has a ChannelV from Analog Obsession

For 22 Main Fills I wanted a big OTT sound so I used Scheps, VariMoon, Black Box, Devil Loc, and API-2500 side-chained to the signature fill.

24 signature fill has a peak at 8k and 250 from the API-560.

Was going to put a chorus on the first bass but I preferred that in mono to make a bigger contrast. I also sent that to a bus with MannyM distortion and Vertigo Vsm3

The synths are grouped together and DBX-160 is used for sidechaining to the kick. Main synth uses Devil-Loc and Taip.

Scream has an h-delay.

Finally, for the bus, I used VariMoon, True Iron, and Airwindows' Infrasonic. The result comes out to -1.1tpdb, 16.2 LUFs, a little close but still makes the cut

https://drive.google.com/file/d/1ynOsnr ... sp=sharing

[alavault]

Hello !
Mix : https://drive.google.com/file/d/1zTTxH5 ... sp=sharing
Drums and fills : mostly panning and adding 8k everywhere. Clipping on the kick and snare. Parallel compression with bass.
Bass : Added a distorted track to add some harmonics. Blended both to get the final sound. Parallel compression and flanger.
"Lead" elements : highpass and limiting. Added some delay and verb for space.
Pad & the likes : highpass and mid cut@400.
Vox etc.... : 1176-style comp (heavy) + long delays and saturation.
Master bus : SSL comp into Kotelnikov into limiter. Added EQ automation.

[Coiled_Ear]

So here we go:
https://drive.google.com/file/d/1xmAyMD ... sp=sharing

Kick extra - ValhallaRoom (dark room mode) for making some ether around main kick punch and therefore for better noticable spatial accents too

Kick - Highly eqed (I wanted actually make a complete new kick from the existed one) and then saturated with WavesFactory Spectre and then with NI Supercharger GT

Snare - mono, Khs transient Shaper, Spectre and EQ

Hats - EQ, Fab Pro-MB, DMG Essence and then Spectre for compenstating that Essence dropped

Bongos - Trans Shaper, Pro-MB and just a bit autopan (ableton's) in random mode

Chant - nothing (just send but later on this)

Perc Kick - EQ

Perc Loop - EQ and Bass mono (ableton's utility), Perc loop 2 - eq

Marching Snare - mono - EQ, Transient shaper, Decapitator, Superchager GT (yeah, serial saturation brings a lot of proximity effect without overcompessing or distorting)

Perc Snarey - Transient Shaper

Perc Drum - Proq3, Pro-mb

Foley 1 - Proq3, Trans Shaper, Analog Obsession Loades, Decapitator and then again Proq3

Foley 2 - Promb, Proq3, KHS Haas

Foley 3 - EQ

Shakers 1 - none (sends only)

Shakers 2 - Spectre

Ride - Proq3, Ableton's Autofilter (notch filter around 2k with slow LFO enabled), Spectre

Crashes - none

Main Fill - Ableton's Overdrive, Supercharger GT

Tamb prefills - Proq3

Signature Fill - Ableton Overdrive

Square Sub - Proq3, Supercharger GT (realized that control mid frequency harmonics may bring more perceived sub bass in the mix then rise just low end and bring muddy at the end huh)
Warm Sub - Proq3 (thanks for existed production they match both with Marching snare perfect in timbres!)
Bass Hit - Decapitator (just touch in parallel)
Main pad - Pro-mb, Decapitator, Proq3, ShapeShifter
Main Synth - Tracks Pultec eq, proq3
Vox atmos - proq3
Dialogue and scream - none (just sends)
Backgr noise - Pro q3
Impact Digital - Proq3

Sweep end, Fall1, FX1, Impact metal - none

Riser - proq3

Riser short none



Sends - Ableton Echo (for dub delay for sure), ValhallaRoom (shortest for a touch), Ghz Megaverb 3 - 200ms predelay (!!!) with 1.5, a mode, slightly saturated - actually does all of those spatials in the mix, my personal love in this! and the last AUX buss is Ghz Megaverb 3 but more for plate like style (some automations too)



Master buss - DMG Essense (tame 16.5 khz), Kush Blyss (what a nice control over mid freqs!), Klanghelm DC8C3 (juiced compressor yeah), JMG Expance 3d (just to wide up a bit) and Kazrog Kclip3 for true peak and ISP decapitator.

That's it, thanks and good luck to all participants!

[delicate]

One more awesome contribution from the artist. I also loved the original mix. It felt better than the references.

My mix →

I established the general balance, and started my processing top-down, with the mixbus and sub-groups. On the mixbus, I had a couple of tape emulators, an SSL-style compressor with 2db GR, and an EQ. The mixbus EQ did most of the tone shaping, which is unusual to me. Most notably, it had a 4+ db shelf boost from 600hz. Alternatively, I tried to get the same tone from group EQing, but preferred the move on the mixbus, it felt more coherent.

On the individual tracks, most of the processing was slight EQing and saturation, rarely compression to add a bit of movement. Quite a few things had inserted reverbs. For example, I pushed a few percussive elements back in the room.

[Mister Fox]

A friendly reminder:
Including today, 7 days left to submit your mix.

Please keep in mind - this is a rare chance to work on such a production, as the majority of the content we're getting offered is mostly Pop/Rock oriented. So don't let this chance to go waste.

[Beja]

Author: 7th Pyramid
Title: No Escape
File format: WAV, 24/48
Duration: 3:55
Integrated LUFS: 16.4
Maximum true peak: -1.7

Here is my Mix:
https://www.dropbox.com/sh/j15c58wconfl ... IYoia?dl=0


(Google Translate)

I really enjoyed making this mix. Special thanks to @Jorgeelalto
for allowing access to this great production and of course Mr.Fox, for putting it into
scene for all of us.

I had previously avoided productions of this genre, but had never made
a mix. These productions are oriented towards live staging,
usually played by a DJ. It has been important here, in my opinion, to protect and
accompany the Drums throughout the mix, and especially test them repeatedly
in Mono, as most live sound systems need to use this feature
(punch issues).

It is true that these productions sound strong. probably a record label,
I would ask for this track at sound levels close to 6 or 5 RMS. However, this is nothing
has to do with our task, since whatever the track, it is necessary to start from
a good mix.

In particular, this production contains many sounds, this makes it very rich at the
time for creativity and once you have taken into account what has been explained above, it opens a door
great for creativity. This is also reinforced, since the production by
separate tracks that we're mixing, depending on how the mix is ​​done,
can display even more sounds than the production
original. Therefore I have also focused on the details about them in addition to the sounds
main.

DAW: Bitwig Studio

Some processing:

General:
I have been able to review all the sounds in the Stereo plane (Panning) and also in the
frequency range (Eq) 20 Hz to 20000 Hz.
In both cases I have found some surprises, correcting those that are out of
phase and centering those that are out of range.

Special:
I will describe 3:
02 kick: M StereoScope + CLA-2A Mono + apQualizr. Send to your respective group.
17 Shakers 1: Dual Pan + MAutopan + BC Gain (+1 db) + apQualizr
31 Dialogue: Duplicates into 31 Dialogue and 31 Dialogue Bis.
31 Dialogue: BC Gain + Delay-2 (Delay-2 lights up when Dialogue says the word
"Return". This works fine in Mono.
31 Dialgue Bis: apQualizer 2 (1db at 691 Hz) + Ozone Imager. This works fine on
Stereo (side information).


I hope you enjoy this mix and greetings to all the forum.

Beja

[Jorgeelalto]

Thanks for the kind words you all! Cannot wait to check all the mixes

[LCM!]

Hi you all. Nice opportunity to mix this genre, mesmerizing rhythms I have much enjoyed, plenty of details and challenging requirements I tried to fullfill. Thanks @Jorgeelalto for your tracks and @Mister Fox for keeping this place alive.

This is my mix: https://drive.google.com/file/d/1q5l6Iw ... sp=sharing

Hard to list every single process I did because once I got to a point of self-perceived balance among elements with not much more treatment than volume and panning, as other mates said before, I tried to address those spots where I could print some uniqueness (if I did any), in an easy way and going back and forth. Therefore these are the most remarkable traits of my mix:

Intro. No Shaker at all, additional delay for FXs and a more disturbing Dialogue track (distortion, pitch delay).

Breaks. Stressing them, and adding others when, e.g. there are shouts at the Chant track, soloing some rhythm elements but keeping the flow alive.

Some effects give variety (Perc Snaery as falling balls in the final part, Bass Hit occaionally delayed to get a deeper sound).

Background Noise. In some sections it has been obliterated in order to keep things clearer; otherwise, in the mid section I process it to get a somewhat effect of tribal chant approaching (flanger and pitch).

Square and Warm Sub Bass have been both splitted into two tracks at around 410 Hz.

Parallel compression for drums (kick and snares, mainly), bass and the master, where I place a Distortion plugging as well.

Reaper stock pluggins.

Greetings everybody.

[PauPeu]

Not much to do (mix) in this production, all tracks and tunning are very precise.


Here’s the mix: https://drive.google.com/file/d/1DZfKLK ... sp=sharing

Overall i just made some space for the information on the highs and add more impact or difference in the percussion elements
The Bass side chained with the kick change the rhythm of theme (for the better I think)
And also i reduced or increased the stereo in the different tracks.
Just adding industrial character to the theme.



Kick - Eq, saturation, a little sublow bump, and a touch of compression

snare - Saturation

Hats- just a little short reverb

Bongos and perf loop 1, 8k bump and more punch (compression) and reverb in the loop for matching the space of the bongos

Chant - Put in mono, saturation eq and a short delay

Perc Loop - Saturation and eq removing all above 9k

Marching snare - Plate rever, compression and less stereo field

Perc Snare - de-reverb (I want this upfront)

Foleys - quite present Room reverb

Shakers - another short reverb (separate it from the main hats)

Ride - nothing

Main fills - digital distorsion (redux) and widened.

Bass - tape saturation and sidechained with the Kick

Main Synth - little eq

Main Pad - low mid bump

Vox amos - subtle wow (pitch) effect

Dialogue - bump at 2k - short reverb

Scream - cut at 2 k and delay

Back ground noise - sublow cut and Phaser effect (adds a little movement)

The rest, (fx, sweeps, Risers) subtle processing, some long reverbs, and a little tunning (in the sub Impact)

MIX BUS - Some Eq , clipping and compression as the author suggested.



I Hope You to enjoy my Mix and sorry for the bad english, cheers from Barcelona.