MIX CHALLENGE - MC058 September 2019 - Winners announced

[Mister Fox]

A short update
Reached out to the client, I've yet to see a response. Apologies for the inconvenience

[Mister Fox]

A short update
I still don't have any response from the Song Provider. If I don't hear anything back by mid next week (6th November), I have to step in. So please, check again if your Round 2 edits are sill available to download.

[Coiled_Ear]

A short update
I still don't have any response from the Song Provider. If I don't hear anything back by mid next week (6th November), I have to step in. So please, check again if your Round 2 edits are sill available to download.

Any news?

[Mister Fox]

I didn't get any response so far - I apologize for the inconvenience yet again. I'm now forced to take over.

Please expect results and the winner announcement the next 48 hours.

[jeffssoloband]

Please expect results and the winner announcement the next 48 hours.

I’m not trying to be a dick, but should we just consider this challenge cancelled?

[Mister Fox]

Hi everyone,

first and foremost, apologies for the wait. Sadly our song provider (David Paul Paige) didn't return, even after reaching out several times. So as mentioned previously, and as per the rule set, I as host have to step in and close out MC058. Albeit with an offset of a couple of days (things came up behind the scenes, and the whole community is run by one person).

I also have to point out that I highly dislike doing this. I am not the song provider. My opinion differs greatly from that of the creator of this song. This is why it's so important that the "client" is available from day 1 with the Integrity Checks, to day 1 from starting the game, until the very, very last day of Mix Round 2. If that doesn't work out, things come to a grinding halt and only frustration sets in. For the participants, and for me as CTO of the Mix Challenge equally (as this process is very time consuming).


As a baseline for the evaluation:

I loudness normalized all files first (to -23LUFS ILk - just because I could) so that my focus is purely on the mix. If you want to know how to do that, i wrote an article about this on the forum

I then gave each song a listen twice - first on 8" studio speakers (frequency corrected), then on 2" Laptop speakers to get an impression how things would sound at the studio, and on non-ideal listening environments. Important to me was the intelligibility of the vocals, and how the overall production felt. First impression is important to me - it shouldn't grow on me while listening on constant loop. Another important thing was, whether or not the files were delivered properly - as in: correct resolution (equal or higher) and proper file naming (as in - was your name attached to your edit or not).

Technically, a lot of productions also went beyond the -16LUFS ILk (+-1LU) limit, but the source material results in a very, very dense mix. So shooting as high as -14LUFS ILk (which some people did), is this time not a criteria for a loss of points / disqualification. Just... please have an eye on this in the future. This is still about mixing, not mastering.

Some statistics for you:
File statistics for MC058




Coiled Ear:

File Format: 44kHz / 24bit

The kick drum is very boomy on 8" speakers, and it was filtered in such a way, that it turns into a large war tom. I like that concept. However, the overall mix suffers due to a lot of signals blending with each other. The vocals actually drown ever so often on big speakers, and I personally feel the marching snare and certain Dobro sections are a bit too loud.

On small speakers, things feel a bit "honky" and the vocals sound as if they're distorted in places, then sometimes the Dobro take over way too much. I like that the kick can still be heard (the beater mostly). Overall, this doesn't result in ear fatigue.



Green Dog:

File Format: 48kHz / 24bit

Your production feels a bit "honky and boxed" (please take a closer look at your midrange around 800Hz to 1,6kHz, especially the vocals). But I do like that the instruments are a spaced out. I do like the haunting E-Bow guitar in the background and the more restrained percussion section, albeit they do feel "dry" on small speakers (especially the snare), the kick can be heard though (beater). The lead vocal is a bit dry as well, and I do not hear the huffing solders in the background. On small speakers, this is emphasized fairly strong. If the chorus is on, things sound distorted even, ear fatigue can set in quick due to this.



JeffSoloBand:

File Format: 44kHz / 24bit

This production (on big speakers) feels like as if the lowend is missing - which does result in ear fatigue really quick. In fact, if I boost around 105Hz (+3dB to +4dB), I of course also raise the kick drum's low end, but suddenly the bass returns again as well. The kick is very subtle. In fact, the whole stereo field feels fairly narrow, even though you used a lot of reverb. I'm personally not enjoying the one on the lead vocals though... in the chorus section, they do wash out everything. On small speakers, the snare feels super loud, and the e-bow in the background tries to cut it's way through the mix like a butcher knive. There is literally nothing in terms of bass. I barely even hear the kick hits.



MattRocket:

File Format: 44kHz / 24bit

Your production feels balanced on big speakers (although the E-Bow Guitars vanish a bit later in the song), but it is sadly also super dry on the overall instrumentation. The solo vocals are instantly off-putting with that reverb (I would have opted for a different room to be honest), this is especially apparent with small speakers. Towards the end the production is washing out with the "e-bow strings", not to mention that suddenly the production feels bland and "not spaced out". I barely hear the kick drum beater on small speakers, and as with all other productions up until this point, the snare is really aggressive on small speakers as well.



maxovrdrive:

File Format: 44kHz / 24bit

Fairly balanced edit, but I'd personally address the frequencies around 160Hz, around 360Hz and around 3,5kHz. Mastering might probably fix this, just something to point out that this might be problematic areas to address for another revision. What does stand out, is that the Dobro's are a bit bright, but the vocals are not. If you boost the production (high shelf) at 7,5kHz and higher, this can be remedied a bit, but then the guitars are a tad too sharp.

Impression on small speakers is completely different. Here I can subtle hear the kick beater, the snare feels "honky" and midrange heavy though - compared to other mixes, the drums even nearly vanish. The strings in the introduction also feel very obtrusive, the Dobro on the left side feels way too loud, and the vocals get drowned on occasion.



MORK:

File Format: 44kHz / 24bit, file was not properly named

Oh boy, always the small careless mistakes with file naming (yours was the only file that wasn't named - but in an actual real live scenario - a no-no!). Not even joking, the file name was: MC58_TheAverageCitizens_TheCivilWarSong_r2.wav) - thankfully you were the only one in Round 2, so I knew whom this entry belonged to. But I am so sorry - due to the lack of a properly named file, you might have lost your spot on the winners podium.

It is such a pity even - because the production feels very, very balanced. Although, do have an eye on frequencies 230Hz and 3,15kHz. I like the used room sound, initial impression was definitely not off-putting, clear vocals, would have loved a tad more "e-bow" though (with movements). Loudness was pushing it a bit at -14,7LUFS ILk though. The balance is still there on small speakers. I hear the kick (beater), the snare is not obtrusive, only the vocal reverb feels a bit much. Such a shame.



Olli H:

File Format: 44kHz / 24bit

Interesting approach on the stereo field. Although the Dobro on the left is a bit too loud and annoying for my taste. Your track also feels like it's having a drape on top of the mix (big speakers). Something that can easily be remedied with a low shelf (110Hz at -2dB) and a high shelf (4,7kHz with wide Q and 4dB). Basically tilting the frequency spectrum a bit. This does sound better on small speakers - and yes a mastering process can address it. Just something to point out. Sadly the E-bow drowns a bit in places, and the "Hoo-Haa"'s as well - but overall a fairly well balanced mix.

On small speakers, and with the current mix, things sound off until you do the slight "Tilt EQ". Then this mix actually translates really, really well. Kick drum and all. Although I'd also dip around -1,5dB at 690Hz to really balance things out.



paperthin:

File Format: 44kHz / 24bit

You're been pushing it a bit in terms of loudness (-14,6LUFS ILk). Your introduction fade in was also a bit short. Interesting approach with the flanging on the E-Bow and synth strings, which gives them an own place in the stereo field and doesn't clash as much with the guitars. Quite genius. Some of the background vocals do drown though, same goes for the solo vocals (could have been 1-2dB louder - just the solo voice though), while the chorus vocals are a bit too strong and loud on the stereo speaker (as in - possible spacing issues), and the "Hoo-Haa"'s feel phase inverted (actually one of the challenges of this mix).

Just like Olli H's mix, your track could also use a Tilt EQ, with similar settings than his even (low shelf (110Hz at -2dB) and a high shelf (4,7kHz with wide Q and 4dB) - accidentally left those settings on and was impressed of the overall balance). Another interesting approach is the end of the song with the fade out of the percussion and modeling the last drum hit as "gun shot". Didn't expect that, might not have done it myself. But this kept your production really interesting and in your memory.

On small speakers, the "special effects" are even more emphasized. The kick beater for example sometimes interacts with the snare, which pushes an emphasis on single snare hits on 3 (backbeat). The chorus vocals are still a bit much, and the e-bow (with the flanger) let's the production feel a bit wobbly. But overall - it does also translate fairly well - considering the inversion issues. For small speakers, I'd actually use less HiShelf boost than on big speakers (only 2dB instead of 4dB).



PeterM:

File Format: 44kHz / 24bit

Overall good mix, but the mids feel a bit too strong (look around 600-800Hz) and things start to wash out the more instruments are present in the production. I do like that the clean e-guitar cuts through the production nicely. The background and chorus vocals do drown a bit though (they're really subtle). The snare feels also really aggressive towards the end of the production.

On small speakers, the clean e-guitar and the rhythm acoustic guitar is a bit much on this setup though. You can hear the kick drum (beater). Overall it does feel a bit more balanced than on big speakers, but it's because of the "mid-range heavy" nature of smaller speakers. The track does still get more aggressive towards the end though.



ShroomFeverish:

File Format: 48kHz / 24bit

The intro is very, very sudden and the drums are super "in your face" rather than pushed back, while the vocals are placed a bit too far back and drown out in the overall mix. It's as if you used very, very strong compression on your sub-groups and then tried to blend the sections with each other. Not very pleasant, I'm afraid. On closer inspection, your track feels "compressed" throughout. You do have a loudness of about -18LUFS, but your maximum peaks are at -8dBTP. So your transients are all gone. This gives this claustrophobic, over-compressed impression.

On small speakers, you even have an aggressive boost in the upper mid range on top of the over-compression. The production suddenly sounds way, way more bright. This does result in ear fatigue fairly quick.



VasDim:

File Format: 44kHz / 16bit

Another small careless mistake by a longtime participant. The source material was 44/24, yet you delivered 44/16 - an absolute no-no (as in, no position on the podium). Your production is also very, very "bright" sounding. The lead vocals and snare especially (check around 2,2kHz), and the overall mixdown does need a cut around 13,5kHz, else your ears just hurt unnecessarily. Else... I do like the spacing of the instruments, the vocals could get maybe slightly more reverb (and a more warm one at that), but overall it does feels "nasal", which is only exaggerated on small speakers. And does even sound over-compressed in places.





Overall feedback:

You all added a different spin to the production. Admittedly, the soundscapes were all on top of each other and mixing wasn't easy. Dobro's and Banjo's are a masterclass in itself. Most of you did put strong emphasis on the drums though, even after giving examples to listen to "The Traveling Willburys" where the drums (at least the kick) are more felt than upfront. The marching snare was also fairly dry on top.

Then another thing I've noticed... most of the participants cut away the silence in front and back. The reason for recommending to add an extra bar of silence to a mix, is to prevent possible mishaps with your equipment. Even today, rendering can be faulty and result in either strong initial transients, or unwanted fade-ins. This is to prevent such issues. One or two productions really cut things close and had a sudden start. Something to keep in mind for the future.

Again - I am not the song provider/client, this is my personal opinion. But this is the best feedback I can give, considering the source mix, provided references and my personal experience from mixing throughout the years. Since we (sadly) won't get a final word by the song provider himself, let's close out this game round.



My personal top 3 entries are:

1) Olli H
2) paperthin
3) CoiledEar

Runner-Ups: MORK (if only it wouldn't be for the small mistake) and maxovrdrive (if only it wouldn't be for the ear fatigue on small speakers)

Thank you for participating. And once more, apologies for the waiting time.

[Mister Fox]

First and foremost, congratulations to the winners!

The Winners Podium is
1) Olli H
2) Paperthin
3) CoiledEar


We perform with the usual - please select one license out of the pool (in order of the winners podium) and mention it in this thread, then (important) get in touch with me via PM with your full name, email address and your plugin selection.

I'll update the "winners podium" thread shortly.

Thanks again for your participation. You can leave the thread alive if you want to exchange tips/tricks, edits, etc.

[jeffssoloband]

Sorry I asked lol

[Olli H]

Wow! Gongrats to winners

I take MUX Modular 7

[paperthin]

A very deep and thorough analysis, I take my hat off to you Mr Fox!

I'll take Metric Halo's Channel Strip, please.