MIX CHALLENGE - MC101 December 2024 - Submissions extended until 24-DEC-2024 23:59 UTC+1/CET

[PhilBeis]

Hi, thanks Mr. Fox and Mr. Mellow Brown, here is my mix:
https://drive.google.com/file/d/1tQ3OX1 ... sp=sharing

What did I do (all ITB):
- some panning of different track (mostly fixed)
- duck instrument (except piano) with Kick, 808 and voices
- a bit of volume automation for instrument
- different kind of rev on different tracks (also on Kick and 808)
- different kind of saturation on different tracks
- helios type 69 pre on most of voice tracks
- compression on most of voice tracks
- TDR infrasonic on both Kick & 808 (no other eq, saturation or compression on those tracks)
- shadox hill compressor class A and Tape on the master bus
- unfitlered audio triad on master bus, mostly silent, with automation to open it when (after) FX track sounds

[rchm.music]

Thank you Mr. Fox and Mr Mellow Brown, here is my submission for the MixChallenge MC101:

MC101__MellowBrowne__TrapHouse__Rchm.Music

phpBB [media]

https://www.dropbox.com/scl/fi/j4vp0icu ... wkgrn&dl=0

Mixed on Dynaudio BM5, Bower & Wilkins 805 Matrix and Audeeze EL-8 Studio Headphones, not frequency corrected, cross checked with Sony SRS XB10 bluetooth speaker, the room has been treated acoustically.


I mix all ITB, my approach is a subtractive method, Usually taking off frequencies that i don't want to accentuate.

My main plugins are: SSL, Slate digital, UAD, Soundtoys and stock Pro Tools.

What i tried to do to achieve the classic in your face trap sound was to enhance transient punch in the mid highs on almost everything, using transient designers such as the one on the virtual mix rack from slate gives me the opportunity to enhance certain frequencies of the spectrum with it and not just all. My mix has a lot of different types of saturation on everything, subtle but enough to make a difference, sometime stacking different saturators on top of each other to get the harmonics i want to pop out. All my tracks have a lot of subtractive eq before any saturation, this makes it so that i only saturate the desired frequencies, instead of boosting with an eq, i like to push the harmonics out like this.

This track was a lot of fun to mix, for the fx parts i used a combo of the slate storch filter, stock PT eq and kilo-hearts bit crusher, all automated to open up or close depending on the section.
My mixbus is mainly saturation also i use the god particle without the limiter option, and basically al of ssl's fusion modules (transformer, hf compress, saturation, vintage drive)

Here are my levels:

Integrated LUFS: 23.1 LUFS
Loudness Range LU: 6.1 LU
True Peak Max: -7.0 dB

I hope you like my mix!

Looking forward for your opinion,

Rodolfo Cruz

[BubbieBeats]

My Mix:
https://drive.google.com/file/d/1NVRQLh ... sp=sharing


Hi my name is BubbieBeats, I am a 17 year old Engineer, Producer, Artist, and Pianist. I want to thank you guys for giving me the chance to be in the competition and here is my breakdown.

The first thing I did was load in the wav files and routed them to my start bus. This bus is what I use to balance out the mix, and use an eq and compressor (Pro Tools default) on all tracks to get a(n) gist of how I would like the mix to sound. The only thing on the sound aux is Waves Audio VU meter. The purpose for that is to keep all elements of the mix right at or under -0dB. After everything sounds good I will route each instrument to its designated aux.

Drums:
I first start with the Kick and the Clap & Snare: (Kick Bus: Kirchhoff EQ, ShadowHills Master Compressor, Black Box Analog-HQ, OneKnob Pumper, Rbass, and RCompressor; Clap & Snare Bus: Kirchhoff EQ, ShadowHills Master Compressor, Black Box Analog-HQ, Little Radiator, and RCompressor.) Both of these are routed to my aux titled 'Smack" which gives these instruments a little more transients and saturation.

Then I go to my Hats, which consist of the hi-Hat, and Open Hat (HATS: Kirchhoff EQ, Fresh Air, Little Radiator, and RCompressor.)

After this I go to my 808 Bus (BASS: Rbass, ShadowHilss Compressor, Black Box Analog-HQ, Kirchhoff EQ, BarkOfDog 2, and RCompressor, This bus also consist of an 808 parallel.)
After this I then go to my Drum Bus (EQ3 7 Bands, ShadowHills Master Compressor, L1 Limiter, bx_digitalV3, and SSL Comp

Instruments:
Chior (EQ-7, Kirchhoff EQ, RCompressor, TapeMellofi)
Piano (Manny EQ, BF-3A, Kirchhoff EQ)
Flute (Kirchhoff EQ)
Pad, Lead, and Pluck (Kirchhoff EQ)
Bells (Clean Bells and Bell Lows: SSL G3 Multiband) along with Kirchhoff EQ, RCompressor, and Magic7
All Transitions have just EQS and compression
After this the I go to my Instruments Bus (bx_console SSL 4000 G, Manny EQ, ShadowHills Master Compressor, Li Limiter, bx_digtalV3, SSL Comp)

The All of the sounds go to my ALL MUSIC Bus (D3 Compressor/limiter, L1 Limiter, Lo-Fi, AMEK EQ 250, S1 Imager, Kirchhoff EQ, SSL Comp, Maxim, EQ3 7 Band)

Vocals:
LEADS- (Hook: Black Box Analog-HQ, LA-2A, Neutron Elements 3, Kirchhoff EQ, C4, CLA Vocals, C6, Puigtec EQP1A, EQ3 7Band, DeEsser (Sends: Air Bus, SAT Bus, Plate bus, Delay 1/4, Vocal Par.) (VRSE A: Black Box Analog-HQ, LA-2A, Neutron Elements 3, Kirchhoff EQ, C4, CLA Vocals, Puigtec EQP1A, EQ3 7 Band, DeEsser (Sends: Air Bus, SAT Bus, Plate bus, Delay 1/4, Vocal Par.) (VRSE B: Black Box Analog-HQ, LA-2A, Neutron Elements 3, Kirchhoff EQ, C4, CLA Vocals, Puigtec EQP1A, DeEsser (Sends: Air Bus, SAT Bus, Plate bus, Delay 1/4, Vocal Par.) Then all of the Lead Vocals are routd to a Lead aux with (Kirchhoff EQ, Fresh Air, and DeEsser on it.

DOUBLES- (Black Box Analog-HQ, LA-2A, Neutron Elements 3, Kirchhoff EQ, C4, CLA Vocals, Puigtec EQP1A, EQ3 7 Band, DeEsser (Sends: Air Bus, SAT Bus, Hall Reverb bus, Slap Delay, Vocal Par.)

ADLIBS- (Black Box Analog-HQ, LA-2A, Neutron Elements 3, Kirchhoff EQ, C4, CLA Vocals, Puigtec EQP1A, EQ3 7 Band, DeEsser (Sends: Air Bus, SAT Bus, Reverb bus, Delay 1/2, Vocal Par.)

Then All elements are routed to my MIX BUS (SPL BIG, EQ3 7Band, Kirchhoff EQ, Puigtec EQP1A, Trim, maxim, ADAPTER A/B)


I mixed the song on Pro Tools
I used my Headphone (DT1990 Pros, and my monitors (Yamaha HS8)

[Mister Fox]

An absolute final reminder:
If your file is not accessible by the end of the extended deadline, you forfeit your chance to be heard and maybe even advance into Mix Round 2.

Please read the Mix Pack bundled "TL;DR Rules.txt" again, and double check if your files can be accessed with a different browser, or while being logged out of your Google Drive account.

[dstra]

Hi everyone,

Here is my submission: https://drive.google.com/file/d/1Vl38lz ... sp=sharing

Many thanks to Mellow Browne for providing the tracks.

Processing
On most tracks, only eq, compression and a subtle room reverb were applied. Worth mentioning are:
- Piano: strong boost of low frequencies, since it takes the role of a bass in the mix
- Hook Bells: gate to shorten the decay time
- Synth Bus: stereo widening (MS) to leave more room for the vocals in the center; stutter effect at 2:09
- Main Bus: resonant filter effect at 2:48; "glue" compression

Tools
DAW: Ardour (on Linux)
Plugin bundles: Calf, LSP and others

Mixing environment
Monitors: Yamaha HS80M with Yamaha HS10W (subwoofer)
Headphones: AKG K702
Room treatment: passive acoustic absorbers
No room/headphone correction software used

[bennettwalker]

Hi everyone here is my submission:

https://www.dropbox.com/scl/fi/se6ff7rt ... 9d21g&dl=0


find me on insta at @bennettwalker

mixed on Audeze LCD-X with correction in my studio on Pro Tools

[scottfitz]

Hi everyone here is my submission:

https://www.dropbox.com/scl/fi/se6ff7rt ... 9d21g&dl=0


find me on insta at @bennettwalker

mixed on Audeze LCD-X with correction in my studio on Pro Tools

hi,
which correction are you using for the Audeze cans?

[Mork]

Hey,

thanks for this song! I am German and have listened to German Rap for more than two decades now, so this was fun!

My goal was to have this song exist somewhere between Megaloh and Hafti. In your face vocal and banging kick/808 combo, but not quite as oversized as Haftbefehl. I think this is where the original was going and I think it fits the song and the really well done vocals, which still should be the star of the show.

Production-wise the beat gets quite busy, so it has been a challenge to maintain focus at times. This was solved through panning and carving out space with eq (MB EQ). Some parts are diffused to put them more into the background. The flute, for example, is fighting the choir sound. So it has Valhalla Room directly on the track and is send to two verbs (224, SP2016), to soften it a little.

Another thing is the bells. They're running through the whole song and are in my opinion a little distracting and fatiguing the way they come. So there is a little low pass filter movement automated by hand throughout the song, which works quite well and gives the ears a little rest without having them disappear completely. This and the other filter moves are simply done with Pro Q.

The adlibs got the Trap treatment with a combo of a long verb and delay.

The piano is really cool an has Invigorate on it to beef it up and Supermassive to put it into a space.

This has less sub energy than most mixes I checked here. But compared to commercial releases I think it's very well on par and should bang on systems of every size.

Mixed in Luna.
Main Monitoring has been first and foremost Slate VSX. Also checked on Neumann KH 150 and Genelec 6010. Final touches done on my Christmas present to myself - Audeze LCD-X (corrected via my ADI-2 Pro)
Also checked on HomePod and AirPods Pro 2. So yes, it translates very well (in my opinion, of course)

https://icedrive.net/s/SA68ZvYxY4k7WGTTu9hwCPDZVaWz

Merry Christmas to everyone who's into it