Hi !
Beautiful song !
I mixed it in Protools 12 using a lot of Slate-PlugIns.
Here the Wav
https://drive.google.com/file/d/1Fi3q1O ... sp=sharing
Here the MP3
https://drive.google.com/file/d/1Egk86j ... sp=sharing
2024-NOV-01 Info: Thank you everyone, for making MC100 a resounding success. Please show Songwriting Competition 087 the same love.
MIX CHALLENGE - MC054 May 2019 - Winners announced
-
alelachowski
Re: MIX CHALLENGE - MC054 May 2019 - Submissions until 21-05-2019 11:59pm GMT+2/CEST
Hi there,
here is my mix!
Well, to explain better beyound there is 2 links for a print of my pro tools mix window. Basically I worked with waves, ik multimedia, fabfilter, ozone, NI, plugins.
The most "grey" tracks are disabled because I used to bounce it or freeze tracks with more inserts than others.
I worked with lot of sends and buses, a exemple of this is the vocals where I usually create 3 or 4 sends like "drive", "delay", "reverb", etc. I don't like to use the same reverbs for the same kind of instruments, I like to create different ambiences, so theres is a different effect for the backings, and the same for guitars. The bass, I like to duplicate it and apply a sansamp with more punch and drive, and lot of this tricks that maybe makes at the first time my mix window looks a little poluted.
The screen shots:
https://imgur.com/RxK2qM1
https://imgur.com/sHiYfjy
The mix files:
mp3:
https://www.dropbox.com/s/s1j0t6ea9y9vz ... x.mp3?dl=0
wav:
https://www.dropbox.com/s/oi27k2zgfgpkd ... x.wav?dl=0
Hope you like
cheers!
here is my mix!
Well, to explain better beyound there is 2 links for a print of my pro tools mix window. Basically I worked with waves, ik multimedia, fabfilter, ozone, NI, plugins.
The most "grey" tracks are disabled because I used to bounce it or freeze tracks with more inserts than others.
I worked with lot of sends and buses, a exemple of this is the vocals where I usually create 3 or 4 sends like "drive", "delay", "reverb", etc. I don't like to use the same reverbs for the same kind of instruments, I like to create different ambiences, so theres is a different effect for the backings, and the same for guitars. The bass, I like to duplicate it and apply a sansamp with more punch and drive, and lot of this tricks that maybe makes at the first time my mix window looks a little poluted.
The screen shots:
https://imgur.com/RxK2qM1
https://imgur.com/sHiYfjy
The mix files:
mp3:
https://www.dropbox.com/s/s1j0t6ea9y9vz ... x.mp3?dl=0
wav:
https://www.dropbox.com/s/oi27k2zgfgpkd ... x.wav?dl=0
Hope you like
cheers!
-
EchoOread
Re: MIX CHALLENGE - MC054 May 2019 - Submissions until 21-05-2019 11:59pm GMT+2/CEST
Thanks for the tracks/music. Here is my mix.
Waves plug-ins across all track (compressor, EQ, etc)
Duplicated the guitar track and added some wah-wah+ delay panned in the opposite direction
A little reverb for the snare and the brass section. Otherwise, as suggested, I tried to keep it as clean as possible. Hope you like it. Thanks.
(MP3) https://drive.google.com/open?id=1cdBtN ... N3HYiGrMDU
(waves) https://drive.google.com/open?id=11slRV ... EunTzu4c0m
Waves plug-ins across all track (compressor, EQ, etc)
Duplicated the guitar track and added some wah-wah+ delay panned in the opposite direction
A little reverb for the snare and the brass section. Otherwise, as suggested, I tried to keep it as clean as possible. Hope you like it. Thanks.
(MP3) https://drive.google.com/open?id=1cdBtN ... N3HYiGrMDU
(waves) https://drive.google.com/open?id=11slRV ... EunTzu4c0m
-
Franklin99
- Posts: 3
- Joined: Sat May 18, 2019 15:15 CEST
Re: MIX CHALLENGE - MC054 May 2019 - Submissions until 21-05-2019 11:59pm GMT+2/CEST
My first time submitting on here. I really liked this song and arrangement. I used the basic plugins of eq, compression, delay, reverb, gate, and flange. I tried to keep it clean and stay with the original sound.
I had seen a band similar to this in New Orleans so I attempted to recreate the positioning of instruments based on my memory of that. The brass in the rear right; the upright center stage slightly off to the right of center; the lead vocalist center stage slightly off to the left of center; the guitar to the left; and as for the keyboards I wanted a more non-localized sound coming from them.
Before reaching for an EQ, I broke apart some instruments into lows and highs; processed the lows different from the highs; used subtle panning on the "cut out" parts; and used subtle delays on the various "cut out" parts to create a better clarity/location for each instrument. After that work, I finally reached for the eq plugins and did some minor eq adjustments cutting much less out than had I not gone to the work of the process described above.
The plugins I mainly used on the song were Waves SSL; Altiverb; UAD 1176; Equality; UAD Plate; DAW Stock Flanger, SC compression for delays and the horns side chained to the lead vox. The one outboard unit I used was a Bricasti Plate and a Bricasti Hall with the sends to any reverb heavily eq'd to attenuate "avg peaks".
https://www.dropbox.com/s/h4vwjumf7dql6 ... 9.wav?dl=0
I had seen a band similar to this in New Orleans so I attempted to recreate the positioning of instruments based on my memory of that. The brass in the rear right; the upright center stage slightly off to the right of center; the lead vocalist center stage slightly off to the left of center; the guitar to the left; and as for the keyboards I wanted a more non-localized sound coming from them.
Before reaching for an EQ, I broke apart some instruments into lows and highs; processed the lows different from the highs; used subtle panning on the "cut out" parts; and used subtle delays on the various "cut out" parts to create a better clarity/location for each instrument. After that work, I finally reached for the eq plugins and did some minor eq adjustments cutting much less out than had I not gone to the work of the process described above.
The plugins I mainly used on the song were Waves SSL; Altiverb; UAD 1176; Equality; UAD Plate; DAW Stock Flanger, SC compression for delays and the horns side chained to the lead vox. The one outboard unit I used was a Bricasti Plate and a Bricasti Hall with the sends to any reverb heavily eq'd to attenuate "avg peaks".
https://www.dropbox.com/s/h4vwjumf7dql6 ... 9.wav?dl=0
Last edited by Franklin99 on Tue May 21, 2019 22:06 CEST, edited 1 time in total.
-
Bombest Bomb
Re: MIX CHALLENGE - MC054 May 2019 - Submissions until 21-05-2019 11:59pm GMT+2/CEST
Hi everyone!
I'm new here, I just discovered this site a couple of weeks ago and thought I'd try my hand at mixing Sorry Anyway for this challenge.
My mix has a range of about -21db RMS to -15db RMS. I did see a few spikes getting up to about -13 but they were only during that really loud part at the end. There was a couple dips to -23 in the quiet part before it gets loud, so it balances out.
The overall loudness is -16.2 LUFS-I, with a true peak at -1.2db.
You can download the song here in 24 bit, 48kHz wav
https://drive.google.com/file/d/1u76_k4 ... sp=sharing
The instructions say to have screenshots of the DAW. You can see the audio track settings and the bus settings here.
Audio Track busses and settings
Busses and settings
The contest description says to include detailed notes as a habit for recalls, I'm 100% in the box, so I just open the session for a recall, but I do have good notes on what I did to different things, I just didn't get into specific settings on much.
Mixed on Harrison Mixbus 32c. It has built-in compressors and EQ on each track, most of that will be in the screenshots. All bus sends also have tape saturation. I didn't lower it from default on any track, but I did increase it on some.
During mixing (not for the export) I had Ozone 8 on, by usually bypassed. I only wanted it because of the reference track playback (to A/B reference tracks) and the meters. I removed it before exporting the mix. I know not to do much on mixbus processing for the challenges, so I'm going to reiterate, I removed the plugin completely before final export.
Detailed notes
Each drum piece, not the overheads or the room, just the pieces, had a Scheps Omni-Channel by Waves on it.
I used the Omni-Channel to gate the drums and reduce bleed, I also used the EQ and compression on each piece tailored to the drum. Some saturation on all of them, but I used more on the snare.
The kick sounded really weak after I got into the mix, so I removed the Omni-Channel on it I added the SPL attacker first, then followed that up with the McDSP 6060 Ultimate Module Collection. On that I ran a parallel of an E671 EQ with very little on it, mostly for colour, on one half, then I ran D-100 distortion into the D359 compressor in the other half. Those 2 processes then get summed together to give the kick a lot more life.
All the kit pieces and the overheads got sent to 2 busses. One bus was just a bit of compression to tie the pieces together, the other was a parallel drum crush channel. The Drum crush had the Process Audio plugin called Sugar on it, and that went into the bx_townhouse compressor to crush the drums and make them fat and dirty.
The mono drum room was sent to its own stereo channel. On that channel, I added the Harrison Micro-Glide plugin to give the mono kit some stereo width. I then enhanced that with a bx_2098 EQ in mid/side mode to help the sides stand out more from the mids. The sides were boosted at 2.2 kHz and a shelf at 12.6 kHz to help give the cymbals some shine on the sides. The mid channel had a low shelf boost around 100hz, just to boost up that kick a bit.
The bass needed some work, but without a dry signal to re-amp, I got creative. Some compression and EQ built into the Mixbus channel got it started, and then I added the bx_subfilter to add some sub bass to it, and that fed into the Scheps Omni-Channel. The Omni-Channel had lots of saturation, with some compression and eq. The saturation really helped breathe some life into that bass. The bass was then sent to a bus and added tape saturation to the bus.
The horns were set up so that the sax and trumpet are panned to the sides. Only some EQ was using the high and low pass filters on the horns were used individually. They were sent to a bus along with the lead trumpet and compressed together.
The trumpet lead had some eq on it to get rid of some harshness I didn’t like and it was panned right about 33%. This was to add separation from the guitar playing the same part. More on the guitar below.
The guitar is heavy on automation and is sent to a bus that’s set up with a stereo delay on it called 3d triple Delay. On the guitar track, I applied some compression and EQ inside the track channel strip. I also added the Waves GTR Pedalboard to it with 3 pedals. The pedals were an Overdrive, Phaser, and Flanger. The Flanger was on most of the time but got turned off when the guitar and lead trumpet played together. At that point, the flanger got turned off, and the overdrive and phaser came on. The guitar got panned 33% left so that it was on the opposite side from the trumpet playing the same part. All the pedals are off during the phrase starting with “She says this isn’t like the other times”
The keyboard part sounded great and needed very little done to it. Since it had very little difference in the left and right channels, I used the Scheps Omni-Channel to convert it into a mono signal and ran that into a rotary speaker plugin called x42 Whirl. I wanted to add some more interest to the part and give it some width as well as depth.
The vocals were in good shape overall. The lead vocal got some EQ on it, and all 3 had some compression on each track. I panned the vocal double to the left, and harmony was panned right part way. All vocals were sent to a bus with some very slight compression on it and lots of tape saturation.
Now for the FX busses, besides the stereo delay that the guitar went to there were three busses for FX.
If you're not familiar with the Sugar plugin, which I used in a couple of places, it's sort of a multi-band exciter/enhancer. That description isn't perfect, but it gives you an idea.
I'm new here, I just discovered this site a couple of weeks ago and thought I'd try my hand at mixing Sorry Anyway for this challenge.
My mix has a range of about -21db RMS to -15db RMS. I did see a few spikes getting up to about -13 but they were only during that really loud part at the end. There was a couple dips to -23 in the quiet part before it gets loud, so it balances out.
The overall loudness is -16.2 LUFS-I, with a true peak at -1.2db.You can download the song here in 24 bit, 48kHz wav
https://drive.google.com/file/d/1u76_k4 ... sp=sharing
The instructions say to have screenshots of the DAW. You can see the audio track settings and the bus settings here.
Audio Track busses and settings
Busses and settings
The contest description says to include detailed notes as a habit for recalls, I'm 100% in the box, so I just open the session for a recall, but I do have good notes on what I did to different things, I just didn't get into specific settings on much.
Mixed on Harrison Mixbus 32c. It has built-in compressors and EQ on each track, most of that will be in the screenshots. All bus sends also have tape saturation. I didn't lower it from default on any track, but I did increase it on some.
During mixing (not for the export) I had Ozone 8 on, by usually bypassed. I only wanted it because of the reference track playback (to A/B reference tracks) and the meters. I removed it before exporting the mix. I know not to do much on mixbus processing for the challenges, so I'm going to reiterate, I removed the plugin completely before final export.
Detailed notes
Each drum piece, not the overheads or the room, just the pieces, had a Scheps Omni-Channel by Waves on it.
I used the Omni-Channel to gate the drums and reduce bleed, I also used the EQ and compression on each piece tailored to the drum. Some saturation on all of them, but I used more on the snare.
The kick sounded really weak after I got into the mix, so I removed the Omni-Channel on it I added the SPL attacker first, then followed that up with the McDSP 6060 Ultimate Module Collection. On that I ran a parallel of an E671 EQ with very little on it, mostly for colour, on one half, then I ran D-100 distortion into the D359 compressor in the other half. Those 2 processes then get summed together to give the kick a lot more life.
All the kit pieces and the overheads got sent to 2 busses. One bus was just a bit of compression to tie the pieces together, the other was a parallel drum crush channel. The Drum crush had the Process Audio plugin called Sugar on it, and that went into the bx_townhouse compressor to crush the drums and make them fat and dirty.
The mono drum room was sent to its own stereo channel. On that channel, I added the Harrison Micro-Glide plugin to give the mono kit some stereo width. I then enhanced that with a bx_2098 EQ in mid/side mode to help the sides stand out more from the mids. The sides were boosted at 2.2 kHz and a shelf at 12.6 kHz to help give the cymbals some shine on the sides. The mid channel had a low shelf boost around 100hz, just to boost up that kick a bit.
The bass needed some work, but without a dry signal to re-amp, I got creative. Some compression and EQ built into the Mixbus channel got it started, and then I added the bx_subfilter to add some sub bass to it, and that fed into the Scheps Omni-Channel. The Omni-Channel had lots of saturation, with some compression and eq. The saturation really helped breathe some life into that bass. The bass was then sent to a bus and added tape saturation to the bus.
The horns were set up so that the sax and trumpet are panned to the sides. Only some EQ was using the high and low pass filters on the horns were used individually. They were sent to a bus along with the lead trumpet and compressed together.
The trumpet lead had some eq on it to get rid of some harshness I didn’t like and it was panned right about 33%. This was to add separation from the guitar playing the same part. More on the guitar below.
The guitar is heavy on automation and is sent to a bus that’s set up with a stereo delay on it called 3d triple Delay. On the guitar track, I applied some compression and EQ inside the track channel strip. I also added the Waves GTR Pedalboard to it with 3 pedals. The pedals were an Overdrive, Phaser, and Flanger. The Flanger was on most of the time but got turned off when the guitar and lead trumpet played together. At that point, the flanger got turned off, and the overdrive and phaser came on. The guitar got panned 33% left so that it was on the opposite side from the trumpet playing the same part. All the pedals are off during the phrase starting with “She says this isn’t like the other times”
The keyboard part sounded great and needed very little done to it. Since it had very little difference in the left and right channels, I used the Scheps Omni-Channel to convert it into a mono signal and ran that into a rotary speaker plugin called x42 Whirl. I wanted to add some more interest to the part and give it some width as well as depth.
The vocals were in good shape overall. The lead vocal got some EQ on it, and all 3 had some compression on each track. I panned the vocal double to the left, and harmony was panned right part way. All vocals were sent to a bus with some very slight compression on it and lots of tape saturation.
Now for the FX busses, besides the stereo delay that the guitar went to there were three busses for FX.
- The first bus is set up with the Abby Road Plate reverb on it for a short reverb. I also added some tape saturation from the channel strip to it. All the vocals went to this bus.
- The instruments, except for the drums, went to a bus for the “room” reverb with 2 plugins on it. First is the bx_hybrid V2 EQ plugin. There’s a high pass filter, and low pass filter on it. I also dipped some of the lower mids out and boosted the upper mids some. Then that goes into the MPXiReverb from Lexicon using the “Nice Studio” preset. This bus also had some tape saturation to it.
- There is also a bus set up for the vocal throws. The longer delays you hear at the end of a few phrases. It’s using the bx_delay2500 stereo delay plugin on it. There is some distortion and chorus setup in the delay plugin as well. The bus tape saturation was on and set fairly high on this bus.
If you're not familiar with the Sugar plugin, which I used in a couple of places, it's sort of a multi-band exciter/enhancer. That description isn't perfect, but it gives you an idea.
-
philk
Re: MIX CHALLENGE - MC054 May 2019 - Submissions until 21-05-2019 11:59pm GMT+2/CEST
Hey everyone,
here is my mix entry:
https://www.dropbox.com/s/ro77qsxc6pme3 ... k.mp3?dl=0
https://www.dropbox.com/s/g7vyxazjraf0e ... k.wav?dl=0
This was very fun to mix, I didn't do a lot, because I found the source tracks to come together nicely.
Drums: Saturation, EQ, Compression by Scheps Omni Channel, a little Reverb for Room.
Bass: Saturation, EQ, Compression by Scheps Omni Channel, Darkglass Plugin.
Guitar: Saturation, EQ, Compression by Scheps Omni Channel, a little Reverb.
Organ: Nothing at all + a little Reverb.
Brass: Saturation, EQ, Comp by Scheps Omni Channel, Reverb.
Vocals: Saturation, EQ, Comp by Scheps Omni Channel, Widening, Reverb.
I used very little processing at all, this mix was mostly about finding the right balance for me.
I mixed in my Mixbus Chain, where I have Compression, EQ, Saturation, Excitement, Clipping and Limiting active. Due to some trouble and critique on my mix for the last competition which was too loud, I now normalized my mix down to -18dbfs, so that no one gets tricked by a higher loudness, imo that should be ok than, as it matches the guidelines. To be clear again: I am using limiting to get to a competitive loudness in the first place, which is part of my mixing routine, and I turned it down afterwards to get to -18dbfs again.
Thanks for doing this!!
Cheers, Phil
here is my mix entry:
https://www.dropbox.com/s/ro77qsxc6pme3 ... k.mp3?dl=0
https://www.dropbox.com/s/g7vyxazjraf0e ... k.wav?dl=0
This was very fun to mix, I didn't do a lot, because I found the source tracks to come together nicely.
Drums: Saturation, EQ, Compression by Scheps Omni Channel, a little Reverb for Room.
Bass: Saturation, EQ, Compression by Scheps Omni Channel, Darkglass Plugin.
Guitar: Saturation, EQ, Compression by Scheps Omni Channel, a little Reverb.
Organ: Nothing at all + a little Reverb.
Brass: Saturation, EQ, Comp by Scheps Omni Channel, Reverb.
Vocals: Saturation, EQ, Comp by Scheps Omni Channel, Widening, Reverb.
I used very little processing at all, this mix was mostly about finding the right balance for me.
I mixed in my Mixbus Chain, where I have Compression, EQ, Saturation, Excitement, Clipping and Limiting active. Due to some trouble and critique on my mix for the last competition which was too loud, I now normalized my mix down to -18dbfs, so that no one gets tricked by a higher loudness, imo that should be ok than, as it matches the guidelines. To be clear again: I am using limiting to get to a competitive loudness in the first place, which is part of my mixing routine, and I turned it down afterwards to get to -18dbfs again.
Thanks for doing this!!
Cheers, Phil
-
maxovrdrive
- Posts: 72
- Joined: Sat Jul 07, 2018 07:54 CEST
Re: MIX CHALLENGE - MC054 May 2019 - Submissions until 21-05-2019 11:59pm GMT+2/CEST
It was a fun track to mix. Thank you very much.
Here is my mix:
https://drive.google.com/open?id=1wfSb6 ... Y4Y-PjnCOj
KICK
- main track eq into compression
- aux to parallel sub
- aux to parallel compression
- aux to "kick tik" (hi pass to only allow the 'tik' through) channel for added definition
- all above channels into kick aux for further eq and compression
SNARE
- snare top eq
- snare bottom eq
- above two routed to snare aux: compression into eq
TOMS
- no treatment on individual toms; routed to toms aux
- toms aux compression into eq
- toms aux sent to parallel compression channel
HATS
- eq
OVERHEAD & ROOM
- compression into eq
ALL DRUMS BUSSED TOGETHER for glue compression, saturation, and eq
BASS
- saturation/overdrive into compression
- parallel to 'sub' aux for a touch of sub frequencies
- all above routed to bass aux for eq and compression
KEYS
- widener into channel strip
- parallel saturation used
- spring reverb
GTRS
- compression into amp sim into eq
- room reverb
- bussed into aux channel for dynamic eq and widening
SAX
- saturation
TRUMPET
- no processing
LEAD TRUMPET
- eq
ALL BLOWING BUSSED TO AUX
- widener into chorus, into eq, into compressor
LVox
- no treatment on channel; bussed to vox aux channel
DBL/HARM VOX
- no treatment on channel; bussed to vox aux channel
VOX AUX
- deesser into compression
- room reverb used
Here is my mix:
https://drive.google.com/open?id=1wfSb6 ... Y4Y-PjnCOj
KICK
- main track eq into compression
- aux to parallel sub
- aux to parallel compression
- aux to "kick tik" (hi pass to only allow the 'tik' through) channel for added definition
- all above channels into kick aux for further eq and compression
SNARE
- snare top eq
- snare bottom eq
- above two routed to snare aux: compression into eq
TOMS
- no treatment on individual toms; routed to toms aux
- toms aux compression into eq
- toms aux sent to parallel compression channel
HATS
- eq
OVERHEAD & ROOM
- compression into eq
ALL DRUMS BUSSED TOGETHER for glue compression, saturation, and eq
BASS
- saturation/overdrive into compression
- parallel to 'sub' aux for a touch of sub frequencies
- all above routed to bass aux for eq and compression
KEYS
- widener into channel strip
- parallel saturation used
- spring reverb
GTRS
- compression into amp sim into eq
- room reverb
- bussed into aux channel for dynamic eq and widening
SAX
- saturation
TRUMPET
- no processing
LEAD TRUMPET
- eq
ALL BLOWING BUSSED TO AUX
- widener into chorus, into eq, into compressor
LVox
- no treatment on channel; bussed to vox aux channel
DBL/HARM VOX
- no treatment on channel; bussed to vox aux channel
VOX AUX
- deesser into compression
- room reverb used
-
Arthur Labus
- Posts: 80
- Joined: Fri Jun 16, 2017 19:54 CEST
- Location: Aachen, Germany
Re: MIX CHALLENGE - MC054 May 2019 - Submissions until 21-05-2019 11:59pm GMT+2/CEST
Hello everybody !
Specs:
NLS Channel (Neve) on every track. Tracks set to 0 VU. Izotope Neutrino on every instrument bus.
DRUMS:
Variety Of Sound Thrillseeker VBL on bus
All istrumenst done with Waves CLA Drums
in addictipon:
Kick - Pultec EQ
Snare - Convology XT reverb
BASS
Bss Professor Mark II
Mercurial WS1 chorus
VOCAL
Spitfish de-esser
Audio Assault The Punch
Waves CLA Vocals
Background vocals
Waves Schepps Omni Channel
Convology XT reverb
Nugen Stereoizer
BRASS
Eventide 2016 Stereo Room on group
All 3 tracks with Waves TG1234 and Voxengo Stereo Touch
RHYTHM GUITAR
Doubled the track / moving sections
Black Rooster Audio Cypress TT-15 (clean)
SOLO GUITAR
spilt into 2 tracks, treatment with bx_rockrack V3 and Voxengo Boogex
KEYS
Waves TG1234
Waves Brauer Motion
Master Bus:
NLS Bus (Neve), Density MkII compressor (glueing, max 1 dB GR), Charly Limited analog gain, Barricade Limiter (just for sure), Youlean loudness Meter
MP3: https://drive.google.com/open?id=1xd9T8 ... FyHD_RUYOr
WAV: https://drive.google.com/open?id=15QCJ6 ... J-LSUrduqq
Good succes everybody !
Specs:
NLS Channel (Neve) on every track. Tracks set to 0 VU. Izotope Neutrino on every instrument bus.
DRUMS:
Variety Of Sound Thrillseeker VBL on bus
All istrumenst done with Waves CLA Drums
in addictipon:
Kick - Pultec EQ
Snare - Convology XT reverb
BASS
Bss Professor Mark II
Mercurial WS1 chorus
VOCAL
Spitfish de-esser
Audio Assault The Punch
Waves CLA Vocals
Background vocals
Waves Schepps Omni Channel
Convology XT reverb
Nugen Stereoizer
BRASS
Eventide 2016 Stereo Room on group
All 3 tracks with Waves TG1234 and Voxengo Stereo Touch
RHYTHM GUITAR
Doubled the track / moving sections
Black Rooster Audio Cypress TT-15 (clean)
SOLO GUITAR
spilt into 2 tracks, treatment with bx_rockrack V3 and Voxengo Boogex
KEYS
Waves TG1234
Waves Brauer Motion
Master Bus:
NLS Bus (Neve), Density MkII compressor (glueing, max 1 dB GR), Charly Limited analog gain, Barricade Limiter (just for sure), Youlean loudness Meter
MP3: https://drive.google.com/open?id=1xd9T8 ... FyHD_RUYOr
WAV: https://drive.google.com/open?id=15QCJ6 ... J-LSUrduqq
Good succes everybody !
Re: MIX CHALLENGE - MC054 May 2019 - Submissions until 21-05-2019 11:59pm GMT+2/CEST
https://drive.google.com/drive/u/0/fold ... iZkAg_1onc
Here is my mix. At first i mixed with samples, and sounds amazing, but then i read the no samples rule, so i remixed it, and here it is
Here is my mix. At first i mixed with samples, and sounds amazing, but then i read the no samples rule, so i remixed it, and here it is
Re: MIX CHALLENGE - MC054 May 2019 - Submissions until 21-05-2019 11:59pm GMT+2/CEST
Hello There!
Thank you MisterFox and The Jilters to make this month's challenge possible!
Here's my Entry for the Competition:
Wav:
https://www.dropbox.com/s/r8zxf5821jwxl ... o.wav?dl=0
Mp3:
https://www.dropbox.com/s/s8jt8q1pkd2sy ... o.mp3?dl=0
This Time I went for a mix of Kind of a "Brauerizing" Method and some parallel techniques described by Andrew Scheps.
Mixed in Reaper using 4 Main Busses with different characters/compression on it.
Softube Tape is the first Plugin on every one of those buses. Every following compressor is just barely compressing 1-2 db.
Bus A: Scheps Omni-Channel for a FET-style compression.
Bus B: Klanghelm DC1A3
Bus C: Klanghelm DC1A3
Bus D: T-Racks FC 670
I still used a master bus after it, just for coloring (another Tape, FC670 NOT compressing at all, Pultec Emulation for some air).
On single Tracks I used Scheps Omni Channel all over the place.
DRUMS:
Snare & Kick going to a parallel compression Bus
rest of the Kit going to another parallel compression bus,
Automation of Overhead cymbals in conjunction with Oeksound Soothe to Control the cymbals.
BASS:
Duplicated, then sent to Amplitube for reamping. Clean signal into Scheps Parallel Particles for parallel compression and Sub Bass.
GUITAR:
split into two separate Tracks, both reamped in Amplitube.
HORNS:
Scheps Omni Channel, Little Plate.
VOCALS:
Split Verse & Chorus,
Oeksound Soothe did a great Job solving some of the resonance and sibilance Problems on the Vocal mike, Vocal Rider, MV2.
Sent to multiple different parallel compressors. (SOR8 Distressor Emu, FC670, Mjuc jr)
Multiple parallel processes like Aphex, Microshift, Slap, dialed in very gently.
Reverberate with a M7 Dense Hall Preset.
Lots of automation on Vocals, Horns, and Drums (Cymbals).
I hope, you like it!
Thank you MisterFox and The Jilters to make this month's challenge possible!
Here's my Entry for the Competition:
Wav:
https://www.dropbox.com/s/r8zxf5821jwxl ... o.wav?dl=0
Mp3:
https://www.dropbox.com/s/s8jt8q1pkd2sy ... o.mp3?dl=0
This Time I went for a mix of Kind of a "Brauerizing" Method and some parallel techniques described by Andrew Scheps.
Mixed in Reaper using 4 Main Busses with different characters/compression on it.
Softube Tape is the first Plugin on every one of those buses. Every following compressor is just barely compressing 1-2 db.
Bus A: Scheps Omni-Channel for a FET-style compression.
Bus B: Klanghelm DC1A3
Bus C: Klanghelm DC1A3
Bus D: T-Racks FC 670
I still used a master bus after it, just for coloring (another Tape, FC670 NOT compressing at all, Pultec Emulation for some air).
On single Tracks I used Scheps Omni Channel all over the place.
DRUMS:
Snare & Kick going to a parallel compression Bus
rest of the Kit going to another parallel compression bus,
Automation of Overhead cymbals in conjunction with Oeksound Soothe to Control the cymbals.
BASS:
Duplicated, then sent to Amplitube for reamping. Clean signal into Scheps Parallel Particles for parallel compression and Sub Bass.
GUITAR:
split into two separate Tracks, both reamped in Amplitube.
HORNS:
Scheps Omni Channel, Little Plate.
VOCALS:
Split Verse & Chorus,
Oeksound Soothe did a great Job solving some of the resonance and sibilance Problems on the Vocal mike, Vocal Rider, MV2.
Sent to multiple different parallel compressors. (SOR8 Distressor Emu, FC670, Mjuc jr)
Multiple parallel processes like Aphex, Microshift, Slap, dialed in very gently.
Reverberate with a M7 Dense Hall Preset.
Lots of automation on Vocals, Horns, and Drums (Cymbals).
I hope, you like it!