MIX CHALLENGE - MC070 October 2020 - Winners announced

[White Punk OD]

Here is the mix (48k/24; -16.2dB integrated, -3.03dBTP, according to Mastering The Mix Expose)
https://drive.google.com/file/d/1KQaxkZ ... sp=sharing

Here are the screen shots:
https://drive.google.com/drive/folders/ ... sp=sharing


Hello Adrian, band, staff, comrades!

I hope you will enjoy my mix. My goal was to recreate the "cultish" lush sound of some 80ies bands, but also use some earlier types of sound shape like the tomtom sounds, or a more general snare sound used in certain european pop rock releases some years ago.
It is not perfect, if I get the ticket I offer anything Ady wants to change, but would begin with more detailed harmony vocals, and more automation on the reverbs.

I had no problem with the track count, thanks to Tracktion 7 and a gaming notebook. This ends up with 106 tracks because of the meticulous bus tree structure (see it in the screen shots).
CPU load is only around 50 percent.
For the tracks that needed a channel strip, I deliberately used two different ones. bx_console-N (Neve) for the more modern and "wet" sound shape, and SSL 4000G for the more classic, dry rock type sounds. The snare top has a Lindell Channel X for its compressor, saturation, and air band boosts.


The vocals should lie in a bed of silk and velvet guitars. To embed them seamlessly, I used a trackspacer technique with TDR Nova GE, where I can pick 6 signature frequencies of the vocal, to be protected from the guitar total bus.

I tuned the vocals with a one-knob plugin (free teaser version of a more complex tool), but one phrase shortly before the tomtom bridge seemed a bit extra flat, so I cut it out as its own clip, and then used clip pitch. For the last part, the tuning was turned off.

Vocal goals: not to sound nasal, silky clarity, adult full type of voice, feel as relaxed as possible.
I used also the SPL deesser with automated intensity.
With Nova GE in assistant mode I defeated a lot of mic and room resonances. Noveltech Character dialed to a lower frequency made it sound fuller.
Then, there is a ton of parallel and serial compression, and some automation in volume, detune thickener stack (8 printed tracks), and reverb.

The reverb uses Oril River, preprocessed by a multiband comp (suppress high frequencies, and block louder vocal phrases from having louder reverb), and also a slow vintage tape delay goes before the reverb.

There is another reverb aux with Little Plate for kick and snare and a couple of other sounds.
The snare has an inline Ariesverb 4 beta additionally for some 80ies vibe.

The bass and the dry guitars have also a side chain ducking from the kick. I can still add the snare to this for round 2.

Also I decided that the bass should become tighter, and I heard some stronger pulling of the strings, so let's always try something new and unpredictable, I used the Nectar Element with its assistant mode, and let it do strong pitch discipline, and some "clarity" parameter (which in detail is a result of the analysis), and some "dynamics".
But the heart and fullness of the bass is done via the Ampeg SVT from the DI. I approached the spot where it begins to distort.
The D112 is blended in around a sharp 3k band for some crunch and string sound.
The SM57 has a chorus, but due to the Nectar it is mono. Seems inaudible, but switch it off and the vibe breaks down remarkably.


The guitars should not become too bright, I also took out some midrange, and cleaned up the reverb mics with Nova, to defeat room modes.
My approach was to put all guitar room mics in a Git ROOM Bus and treat that one with a bright compressor.
The intro guitar got two different room EQ settings for its two solo parts.

The guitars got a lot of sensitive hipass tweaking, to leave no gap between bass and git sounds.
I did a very special trick, it is said to be used by Pink Floyd. I blended in the DI signals (with tape sim and sometimes EQ), to make the sound appear cleaner.
The verse and the dirty git tracks have got another special gimmick. I used the DI source to create the impression of additional instruments, and gave them e.g. Valhalla Supermassive, Haas delays, and a stereo chorus, and used that to complement the guitar sound from the regular tracks.

Stereo bus: EQ suggestion by Ozone (within 1 dB), Alpha compressor, exciter. I have to get a sound that sticks and has the full features, so any mastering would not audibly change the character of the sound, just add loudness and some brilliance. This type of music used to be very compressed.

Thanks so much, and I hope you will have fun with this.

[Piranha]

The mix process was based on the search of a dark, dirty, analog '80s sound. The instruments used where Neutron 3 Elements for eq and sometimes transient design, saturation and compression and FrontDAW for hi-pass and saturation. Top bottom approach, starting with buss eq and compression.
Drums started with heavy bx_townhouse parallel compression on shells, Wavesfactory SK10 for kick thump, Stillwell Major Tom on kick and IK 1176 simulation on the other drums.
Bass has bx_opto, parallel saturation via Izotope Trash and Valhalla Space Modulator in parallel on the mid frequencies.
Guitar main shaping eq was IK EQ81 mainly boosting mids, ad saturating a bit.
Background vocals where heavy filtered and compressed via Waves RVox.
Lead vocals has RVox, Sibilance and TDR Nova to control sibilant esses. Eventide Quadravox to have some stereo spead.
Snare verb is Soundtoys Little Plate, main vocal and guitar verb is Acon Digital Verberate.
A bit of slapback delay (SoundToys Little Primal Tap) on lead/backing vocals.
TDR Nova on dynamic mode on the master to control a couple of resonances on low frequencies.

WAV:
https://www.dropbox.com/s/nr5cxfopjihie ... a.wav?dl=0
MP3:
https://www.dropbox.com/s/vzjhfcr1sbmfc ... a.mp3?dl=0

Piranha

[canese]

Hello, have a listen to this mix:

https://www.dropbox.com/s/mq6jqb1wf8r5p ... v.wav?dl=0


Glad to mix this awesome song. Great recording and gain staging. Phasing was quite a task but I managed.

Mixed in FL Studio 12, with almost 100% stock plugins. Only used Izotope alloy2 in some tracks and Krush for some guitars and "la petite excite"

Drums: Gate in snare and kick. EQ, compression, limiter, short reverb, long reverb in parallel and some saturation

Voice: Pitch corrected some notes. add compression, eq, saturation and 3 reverbs and 2 delays

Bass: EQ, compression, chorus in parallel, distortion

Guitars: EQ, compression, 2 delays and one reverb in mix bus.

[letsmix]

I downloaded the files about 2 hours ago and very quickly pulled together a mix! Here it is:

https://www.dropbox.com/s/srlg8z413pqnf ... x.wav?dl=0

These were really well recorded tracks. I listened to the Spotify track and references while the files downloaded and while I put them into my template. I'm extremely grateful the tracks were numbered, it was a breeze.

I recently was fortunate enough to get 2 Avid S1 mix surfaces. It was an absolute joy to Bank through the tracks getting level and pan and very occasionally soloing tracks to see what they were. I ended up using everything to taste.

Drums:
I played with phase until I heard what I liked. Real basic EQ and some gating on each drum to tighten them because I wanted to get a lot of ambience from the room mics, some parallel compression and reverbs.

Bass:
I put a ton of grit and chorus on and I love it! Solid idea for the chorus, I'm totally going back to that on indie tracks!

Vocals:
Drenched them in my favorite effects right off my template. Tiny bits of EQ and compression but the effects are straight off my template with just a lot of level! I did automate level in a few spots.

Guitars:
For each section of guitar I just reallly quickly pulled together a shape for level and pan that I liked, then moved on. I didn't over think it at all. I automated level in a few spots.

Great track!

[satchboogie]

Hi !

Thank you for the opportunity. I really learned a lot so far.
After spending some time i figured out that there are a lot of polyphonic overtones and i ran out of time.
I did summing on busses with some eq and basic stuff with some automation.

Thank you !!

My link: https://drive.google.com/file/d/17DHjab ... sp=sharing

[UnclePaulie]

Here we go! This is my first time submitting a mix, hope you guys like it! I wanted a washed out...verby style which I think was achieved. Once I did some messing with the phase of drum and guitar mics, everything came together pretty quick. I used UA AKG Bx-20s on the drum and guitar tracks. Some eq and compression on the drums tracks too. I skipped the di tracks on everything except bass. The various stereo GTR room tracks had a great tone, so I used that as the main sound, with the other mics helping out a bit. I went heavy on the spaced out vocal, but I dig how it makes for a darker vibe on the song. Hope you enjoy! Thanks.

https://www.dropbox.com/s/9qwhkxlyzpl61 ... e.wav?dl=0

[diegoneryproducoes]

Hi! I'm brazilian! It is the first time that I put my mix on this site. I am very happy with the opportunity. Hope you like it! I hope you comment on my learning. Hugs!!! My Mix:
https://drive.google.com/file/d/1tG1Eqw ... sp=sharing

[Mister Fox]

It is the 22nd October 2020, 01:00 UTC+2/CEST - the first Mix Round has officially ended

Another very warm welcome to all new participants. A huge thank you to everyone that is spreading the word about the Mix Challenge. Please help get the Songwriting Competition as popular (less than 3 days left).


STATISTICS (will be updated shortly):

• If I didn't miscount, we have 92 submissions this month
• We have 3 submission after the deadline (as of the moment of this post)
• We have 4 submission that could not be downloaded by the time of this post and is therefore disqualified
• Overview of Submissions - is your entry within given parameters? (PDF - updated: 25-OCT-2020, full sheet)
• Overview of Submissions (disqualifications only) (PDF - updated: 25-OCT-2020)

INFORMATION:

Until the end of 2020, I will provide a data sheet each month showing all entries and what values they have in terms of loudness (LUFS ILk), maximum signal strength (dBTP), if they are in the correct bitrate and sampling rate, if they were downloadable, etc. This data sheet is not an automated process. You can read about the whole process here

I will post separately once I have the data sheet prepared and uploaded (which will be linked to from this post you're reading right now).



I now open the field for everyone to give each other feedback (highly encouraged). This will be independent to the client feedback however.


Please watch this spot for the client feedback and Mix Round 2 participant announcement.

Good luck to all participants.





The Songwriting Competition 38 (SWC37) is still in full swing.
The deadline is 24th October 2020, 23:59 UTC+2/CEST. The genre is "Soundtrack" - interaction is highly encouraged.

Please spread the word!

[MrFlat]

Here is a third submission after the deadline lol

I am having a problem with this UTC+2 time zone thing....

https://www.dropbox.com/s/5i7z3k6s5p8jn ... t.wav?dl=0

[Oba Ozai]

"I now open the field for everyone to give each other feedback (highly encouraged)." Thanks Mr Fox !

Anyone can comment on this question, thanks,

As a audio mixing student i notice some people put a lot of emphasis on the low end of the frequency band (Kick/Bass). With some of the mixes im amazed as how much loudness they can acheive with respect of other instruments within the "mix" (and sometimes over the voice). How should I model the frequency/loudness spectrum so my mixes can improve (Should it be even trough all the spectrum ? Some bass/kick combinations sounded great, but I noticed some were a bit too much even for the subwoofer I have (not the greatest anyway, is part of a JBL .21 system).

Maybe some images will explain what I mean better than my words. These are 4 different mixes on this MC070

https://drive.google.com/file/d/10kvFvO ... sp=sharing
https://drive.google.com/file/d/1rMYUYo ... sp=sharing
https://drive.google.com/file/d/13-4Z4K ... sp=sharing
https://drive.google.com/file/d/15xEska ... sp=sharing


Also, I would like to know what are the things people look for to declare a mix "better" than the "other". So far I only seen the technical specs we need to adhere to, but nothing on this issue