https://www.dropbox.com/scl/fi/6d2u24xi ... jthko&dl=0
Thanks for another great track to mix
I started by cleaning up the tracks a bit, a little manual dressing and filtering while setting up a static mix to get the best sound I could
A lot of work went into the snare using the PreSonus splitter tool function to get a sound I liked the same was done on the bass
vocals just a bit of eq and some Rvox left the verb as it was as it seemed to help it cut through the mix nicely
Guitars have a lot of dynamic eq to help the bass cut through Lindell 80 pre in drive mode and all guitars are bussed together and sent to SPL Iron
I tried to match the verbs as well as possible Klanghelm TENS Presonus openair
A lot of automation on all tracks
Main bus Klanghelm DC8C3
Any comments and advice are greatly appreciated and again many thanks for the oppertunity
2024-NOV-01 Info: Thank you everyone, for making MC100 a resounding success. Please show Songwriting Competition 087 the same love.
MIX CHALLENGE - MC100 October 2024 - Mix Round 2 until 26-NOV-2024 23:59 UTC+1/CET
-
DIVESPANNER
- Posts: 23
- Joined: Sat May 29, 2021 18:08 CEST
- Location: UK
- Contact:
Re: MIX CHALLENGE - MC100 October 2024 - Submissions until 21-OCT-2024 23:59 UTC+2/CEST
Hey guys! Very nice track!
here is my mix: https://drive.google.com/file/d/10k-tg4 ... sp=sharing
I went very conservative, I firstly EQd every single track, than grouped drums, vocals and guitars+ synth, and then EQd the groups.
Very little compression just where I felt it was needed like 2/3 db compression on vocals both on single tracks and on vocal bus, on the guitar solo to keep it in front, a bit of compression on the kick just to make it more consistent especially in the intro and just few dbs on the drum bus and the mix bus.
I added some generous saturation on the bass to bring the harmonics out and on the clean guitar.
I also added a bit of delay and reverb on the vocals, just in some parts, at the end of some phrases, it's very subtle.
Some clipping to cut some transients on the kick, on the drum bus and the mix bus, and pushed the transient with a transient designer on the drum bus, the mix bus and on some guitar too to make the mix nice and dynamic.
So basically the most of the work was put in to EQing.
The most critical areas imo where the ringing frequencies on the vocals and the overheads, especially on the vocals.
And maybe the most hard part was to make everything stand out through all the song, especially in the last part.
I decided to automate the guitars bus volume and low them when needed to keep the vocals clear and audible.
Generally I tried to to keep guitars and vocals in front of the mix while keeping the energy of the drums and the bass behind.
And btw I've listened to every mix posted so far and to me the ones that stand out the most are the ones from @kombainera , @Nichiz and @Nysa , good job guys!
here is my mix: https://drive.google.com/file/d/10k-tg4 ... sp=sharing
I went very conservative, I firstly EQd every single track, than grouped drums, vocals and guitars+ synth, and then EQd the groups.
Very little compression just where I felt it was needed like 2/3 db compression on vocals both on single tracks and on vocal bus, on the guitar solo to keep it in front, a bit of compression on the kick just to make it more consistent especially in the intro and just few dbs on the drum bus and the mix bus.
I added some generous saturation on the bass to bring the harmonics out and on the clean guitar.
I also added a bit of delay and reverb on the vocals, just in some parts, at the end of some phrases, it's very subtle.
Some clipping to cut some transients on the kick, on the drum bus and the mix bus, and pushed the transient with a transient designer on the drum bus, the mix bus and on some guitar too to make the mix nice and dynamic.
So basically the most of the work was put in to EQing.
The most critical areas imo where the ringing frequencies on the vocals and the overheads, especially on the vocals.
And maybe the most hard part was to make everything stand out through all the song, especially in the last part.
I decided to automate the guitars bus volume and low them when needed to keep the vocals clear and audible.
Generally I tried to to keep guitars and vocals in front of the mix while keeping the energy of the drums and the bass behind.
And btw I've listened to every mix posted so far and to me the ones that stand out the most are the ones from @kombainera , @Nichiz and @Nysa , good job guys!
-
LughSenderson
- Posts: 24
- Joined: Sun May 12, 2019 07:48 CEST
- Location: Brazil
Re: MIX CHALLENGE - MC100 October 2024 - Submissions until 21-OCT-2024 23:59 UTC+2/CEST
Hello everyone. As always, I left the song to mix on the last Sunday before the deadline, hehe. This time, the drums were a big challenge for me and I confess that the snare in particular didn't come close to what I wanted to achieve for the song.
In the song provider's comments, it was said that it's about energy and not about the most polished mix. I considered the recommendation, but thought: why not make a mix that is energetic, but also polished, as much as possible? I believe I achieved that goal.
As always, I used BX SSL 9000J for all equalization and compression on the channels and VSC-2 for bus compression. There were also 6 instances of Relab Lx 480, 4 for reverbs and 2 for delays, one shorter and one longer. I also used two instances of Eventide H3000 factory.
All equalization was done with the aim of extracting the maximum possible energy from the recording, while still trying to leave everything as rounded and defined as possible.
On the drums, in addition to the traditional phase interaction check:
Kick: -22dB around 240Hz with a Q that is not too narrow. I wanted the kick to come through a bit, but not too much and not in a way that would hurt your ears. To help cut it, I added 15dB at 10Khz and 4Khz approximately, plus 6dB at 60Hz for a bit of body. Compression with a fast attack reaching 6dB of reduction.
Snare: I started using Cubase's gate to try to get rid of at least part of the cymbal spill in the track, and I had some success. To give it a bit of impact and clarity, I equalized it as follows: +15dB 6Khz, +9dB 1.5Khz, +9dB 30Hz (approximate values). I compressed generously, reaching 10dB of reduction. Unfortunately, it still didn't get where I wanted it to and my attempts with transient designer didn't please me, so I accepted the sound. I'm not a sampler, but if the rules allowed it, I would definitely add some to this song.
Toms: A little EQ boosting bass and treble and fast compression.
Overheads: Hi pass at 200Hz, -6db at 400Hz and +6db at 12khz (also approximate values), 3db gain reduction in the compressor with fast attack. I like the cymbals to come through a bit, but without covering the guitars.
Room: Just very strong compression, in peak mode with fast attack.
Snare, toms, overheads and room were sent to the lx480 in a room setting with 900ms decay, 14ms pre delay.
Bass: Low pass at 6khz, +15db at 5khz, +20db at 3khz and a lot of compression with fast attack. This helped cut the guitars a bit, but not as much as I would have liked. Just like the snare drum, I accepted the sound and continued.
Guitars: There were many of them and since in my opinion this was the part with the best tone, I decided to make them a bit louder. The equalization and compression didn't vary much between them, basically a hi pass filter between 100 and 150hz and some generous gain (15-20db) at 8khz and 4khz. On the ‘bend’ guitar it was also necessary to attenuate some of the bass around 130hz to help it not blend in excessively with the other instruments at the end of the song. All the guitars were compressed with a target of 6db of gain reduction. The octaver, bridge and special Fx guitars went to the second reverb (short random hall) to the third reverb (hall with 4s) and to the delays. The lead guitar went to the reverb and to a slap delay on the 3000 factory.
Synth: +6db 8khz and Hall reverb.
Vocals: Another challenge here, some of the vocals had an excess in the 2.5kHz region that I treated with the SSL EQ. Other than that, all the vocals were equalized with hi pass at 160Hz, -10dB at 120Hz (shelf), +6dB at 10kHz. Strong compression with 14dB of reduction and fast attack, this helped to round out the highs of the equalization a little in the points where they bothered me. At some points I used the fourth reverb (plate with 100ms of pre delay), but not always because there was already ambience in the recording. There were also slap and long delays at times.
On the VSC-2 I compressed a lot with fast attack and soft ratio, of 6 to 8dB of reduction. This finished rounding out the highs and lows.
Finally I did a lot of automation, I would say that of the hour and a half that I spent mixing the song, 70 minutes were for automation. The goal was to control what went through the compression, and what sometimes got lost in the mass of guitars, especially toms. I also used automation to extend the dynamics between sections of the song and to give some specific impact, with volume and added effects.
I hope you like it.
https://drive.google.com/file/d/11iEpbg ... 2HG6t/view
In the song provider's comments, it was said that it's about energy and not about the most polished mix. I considered the recommendation, but thought: why not make a mix that is energetic, but also polished, as much as possible? I believe I achieved that goal.
As always, I used BX SSL 9000J for all equalization and compression on the channels and VSC-2 for bus compression. There were also 6 instances of Relab Lx 480, 4 for reverbs and 2 for delays, one shorter and one longer. I also used two instances of Eventide H3000 factory.
All equalization was done with the aim of extracting the maximum possible energy from the recording, while still trying to leave everything as rounded and defined as possible.
On the drums, in addition to the traditional phase interaction check:
Kick: -22dB around 240Hz with a Q that is not too narrow. I wanted the kick to come through a bit, but not too much and not in a way that would hurt your ears. To help cut it, I added 15dB at 10Khz and 4Khz approximately, plus 6dB at 60Hz for a bit of body. Compression with a fast attack reaching 6dB of reduction.
Snare: I started using Cubase's gate to try to get rid of at least part of the cymbal spill in the track, and I had some success. To give it a bit of impact and clarity, I equalized it as follows: +15dB 6Khz, +9dB 1.5Khz, +9dB 30Hz (approximate values). I compressed generously, reaching 10dB of reduction. Unfortunately, it still didn't get where I wanted it to and my attempts with transient designer didn't please me, so I accepted the sound. I'm not a sampler, but if the rules allowed it, I would definitely add some to this song.
Toms: A little EQ boosting bass and treble and fast compression.
Overheads: Hi pass at 200Hz, -6db at 400Hz and +6db at 12khz (also approximate values), 3db gain reduction in the compressor with fast attack. I like the cymbals to come through a bit, but without covering the guitars.
Room: Just very strong compression, in peak mode with fast attack.
Snare, toms, overheads and room were sent to the lx480 in a room setting with 900ms decay, 14ms pre delay.
Bass: Low pass at 6khz, +15db at 5khz, +20db at 3khz and a lot of compression with fast attack. This helped cut the guitars a bit, but not as much as I would have liked. Just like the snare drum, I accepted the sound and continued.
Guitars: There were many of them and since in my opinion this was the part with the best tone, I decided to make them a bit louder. The equalization and compression didn't vary much between them, basically a hi pass filter between 100 and 150hz and some generous gain (15-20db) at 8khz and 4khz. On the ‘bend’ guitar it was also necessary to attenuate some of the bass around 130hz to help it not blend in excessively with the other instruments at the end of the song. All the guitars were compressed with a target of 6db of gain reduction. The octaver, bridge and special Fx guitars went to the second reverb (short random hall) to the third reverb (hall with 4s) and to the delays. The lead guitar went to the reverb and to a slap delay on the 3000 factory.
Synth: +6db 8khz and Hall reverb.
Vocals: Another challenge here, some of the vocals had an excess in the 2.5kHz region that I treated with the SSL EQ. Other than that, all the vocals were equalized with hi pass at 160Hz, -10dB at 120Hz (shelf), +6dB at 10kHz. Strong compression with 14dB of reduction and fast attack, this helped to round out the highs of the equalization a little in the points where they bothered me. At some points I used the fourth reverb (plate with 100ms of pre delay), but not always because there was already ambience in the recording. There were also slap and long delays at times.
On the VSC-2 I compressed a lot with fast attack and soft ratio, of 6 to 8dB of reduction. This finished rounding out the highs and lows.
Finally I did a lot of automation, I would say that of the hour and a half that I spent mixing the song, 70 minutes were for automation. The goal was to control what went through the compression, and what sometimes got lost in the mass of guitars, especially toms. I also used automation to extend the dynamics between sections of the song and to give some specific impact, with volume and added effects.
I hope you like it.
https://drive.google.com/file/d/11iEpbg ... 2HG6t/view
-
Arthur Labus
- Posts: 80
- Joined: Fri Jun 16, 2017 19:54 CEST
- Location: Aachen, Germany
Re: MIX CHALLENGE - MC100 October 2024 - Submissions until 21-OCT-2024 23:59 UTC+2/CEST
Hello everybody !
What an oppurtunity to feel like i am twenty again
Here we go:
Specs:
Tracks set to 0 VU. Izotope Neutrino and NLS Channel (Neve) on every instrument bus.
DRUMS:
Drum Bus - Thrillseeker VBL (light compression + trafo processing), Toneboosters Sibilance (harshness de-essing), Overloud GEM EQ550 (smile)
Kick - Waves CLA Drums with focus on attack and adding highs
Snare - Waves CLA Drums with focus on attack and adding some reverb and soft gate
Toms - panned, Waves CLA Drums adding some highs and soft gate
Overheads - Waves CLA Drums as for Overheads, adding some highs and compression
Room - Waves CLA Drums as for room
BASS:
Bass: Magix Vandal (with overdrive) and Audio Assault Bass Grinder as reamper (seriell)
Bass is "ducked" EQ wise with Wavwesfactory Trackspacer triggered by kick
GUITARS: on BUS : BRA VHL-3C with high pass 150Hz, low pass 15kHz, BRA VEQ-1P with "Pultec guitar trick", TB Sibilance de-esser
Guitar 01 Clean : reamped with bx_rockrack
All other guitar tracks remeins untoched
SYNTH: no processing
VOCALS - TB Sibilance de-esser
Waves CLA Vocals with different settings on all 4 tracks
Voc 03 more intimate
Vic 02 classic rock
Voc 01and 02 as background
All busses except bass send to track with Acustica Silver with big hall for glue reverb
Overall a lot of volume automation
Instruments are slighly "ducked" with Wavesfactory Trackspacer triggered by vocal bus
Master Bus:
NLS Bus (Neve) analog summing, Density MkIII compressor (glueing), Toneboosters ReelBus tape sim, BaxterEQ for overall tone shaping, Toneboosters Sibilance de-esser, Charly Limited analog gain
as metering: Toneboosters TB_Barricade, Youlean Loudness Meter
WAV: https://drive.google.com/file/d/1CAbZT0 ... sp=sharing
WAV 24bit/44kHz, round 3,3 dB headroom / loudness -16,2 LUFS
Good succes everybody !
What an oppurtunity to feel like i am twenty again
Here we go:
Specs:
Tracks set to 0 VU. Izotope Neutrino and NLS Channel (Neve) on every instrument bus.
DRUMS:
Drum Bus - Thrillseeker VBL (light compression + trafo processing), Toneboosters Sibilance (harshness de-essing), Overloud GEM EQ550 (smile)
Kick - Waves CLA Drums with focus on attack and adding highs
Snare - Waves CLA Drums with focus on attack and adding some reverb and soft gate
Toms - panned, Waves CLA Drums adding some highs and soft gate
Overheads - Waves CLA Drums as for Overheads, adding some highs and compression
Room - Waves CLA Drums as for room
BASS:
Bass: Magix Vandal (with overdrive) and Audio Assault Bass Grinder as reamper (seriell)
Bass is "ducked" EQ wise with Wavwesfactory Trackspacer triggered by kick
GUITARS: on BUS : BRA VHL-3C with high pass 150Hz, low pass 15kHz, BRA VEQ-1P with "Pultec guitar trick", TB Sibilance de-esser
Guitar 01 Clean : reamped with bx_rockrack
All other guitar tracks remeins untoched
SYNTH: no processing
VOCALS - TB Sibilance de-esser
Waves CLA Vocals with different settings on all 4 tracks
Voc 03 more intimate
Vic 02 classic rock
Voc 01and 02 as background
All busses except bass send to track with Acustica Silver with big hall for glue reverb
Overall a lot of volume automation
Instruments are slighly "ducked" with Wavesfactory Trackspacer triggered by vocal bus
Master Bus:
NLS Bus (Neve) analog summing, Density MkIII compressor (glueing), Toneboosters ReelBus tape sim, BaxterEQ for overall tone shaping, Toneboosters Sibilance de-esser, Charly Limited analog gain
as metering: Toneboosters TB_Barricade, Youlean Loudness Meter
WAV: https://drive.google.com/file/d/1CAbZT0 ... sp=sharing
WAV 24bit/44kHz, round 3,3 dB headroom / loudness -16,2 LUFS
Good succes everybody !
Re: MIX CHALLENGE - MC100 October 2024 - Submissions until 21-OCT-2024 23:59 UTC+2/CEST
Hi all
First, thanks to @JeroenZuiderwijk for providing the song and the needed multi tracks to mix and to @Mister Fox for the efforts to arrange these competitions.
@JeroenZuiderwijk asked for energy. So I assumed he was not satisfied with the energy in the sample of the song we got to listen to. I therefore listened but also looked at the wav form of the provided sample. As I though, the wave form was nearly a rectangle square. That means it have been clipped, compressed and limited to get loud and it's probably ''glued'' as well. So, what does this mean. The energy and life of a song is in the transients and variations in gain/volum. When you compress a song to that extent you get a loud song but you would most probably loose the energy, life, space and depth in the mix.
I'm not going to use time on whatever plugin I've used, but I'm will say a bit of how to get energy into the song. First of all, preserve the transients throughout the song. On single instrument's, where it's natural, enhance the attack transient with edits and/or automation. This will make eg. a guitar sound more aggressive and upfront. As always, I would use parallel compression and avoid compression in the signal path. Parallel compression will enhance the transients and not kill them. Make some louder parts and some quieter ones if possible to get variations in volume/gain throughout the song. Ll, I made some automations on the exported stereo track in mastering to enhance some attacks when suited.
The aim with this mix is to make a soundscape that has life, depth, separation and energy. To achieve this there is no use of reverb or compressors to ''glue'' the mix. ''Gluing'' will most likely destroy what I'm aiming for.
Good luck to everyone participating in the competition.
https://drive.google.com/file/d/13pbhMI ... p=drivesdk
File format: 44.1 kHz/24 bit
LUFS: -16.1
dBTP: -2.8
First, thanks to @JeroenZuiderwijk for providing the song and the needed multi tracks to mix and to @Mister Fox for the efforts to arrange these competitions.
@JeroenZuiderwijk asked for energy. So I assumed he was not satisfied with the energy in the sample of the song we got to listen to. I therefore listened but also looked at the wav form of the provided sample. As I though, the wave form was nearly a rectangle square. That means it have been clipped, compressed and limited to get loud and it's probably ''glued'' as well. So, what does this mean. The energy and life of a song is in the transients and variations in gain/volum. When you compress a song to that extent you get a loud song but you would most probably loose the energy, life, space and depth in the mix.
I'm not going to use time on whatever plugin I've used, but I'm will say a bit of how to get energy into the song. First of all, preserve the transients throughout the song. On single instrument's, where it's natural, enhance the attack transient with edits and/or automation. This will make eg. a guitar sound more aggressive and upfront. As always, I would use parallel compression and avoid compression in the signal path. Parallel compression will enhance the transients and not kill them. Make some louder parts and some quieter ones if possible to get variations in volume/gain throughout the song. Ll, I made some automations on the exported stereo track in mastering to enhance some attacks when suited.
The aim with this mix is to make a soundscape that has life, depth, separation and energy. To achieve this there is no use of reverb or compressors to ''glue'' the mix. ''Gluing'' will most likely destroy what I'm aiming for.
Good luck to everyone participating in the competition.
https://drive.google.com/file/d/13pbhMI ... p=drivesdk
File format: 44.1 kHz/24 bit
LUFS: -16.1
dBTP: -2.8
Mixbus Pro 10.1 DAW, Kubuntu Linux 64 24.04, Stock Low latency kernel, KXstudio repos, i7-13700, 8 P-core CPU@2.1-5.4GHz, 32 Gb RAM, Intel® UHD Graphics 770, i915 driver, Zoom L12 Digital mixer/Audio interface
Re: MIX CHALLENGE - MC100 October 2024 - Submissions until 21-OCT-2024 23:59 UTC+2/CEST
Hi everyone !
This is my mix :
https://drive.google.com/file/d/1wll37w ... sp=sharing
My desciption :
For all track, a small equalisation.
Drums
Compressor for the kick and the snare. A reverb plate on the snare.
Bass
Compression, overdrive and Orange Head and Cab with Amplitube.
GTR
A lot of edition and level ajustement on differents tracks and parts. Dubbing gtr 2, 3 and 5 with a delay on some parts.
Dubbing of the guitar 6 and 7 with a delay on the other part.
Key
Just adjust the level
Vocal
Compression on each tracks and slapback on the vocal 3.
For the vocal, artistic choice with cut the high frequency to have a dark vocal.
Bus Master
SSL Comp
Voila!
Fabox
This is my mix :
https://drive.google.com/file/d/1wll37w ... sp=sharing
My desciption :
For all track, a small equalisation.
Drums
Compressor for the kick and the snare. A reverb plate on the snare.
Bass
Compression, overdrive and Orange Head and Cab with Amplitube.
GTR
A lot of edition and level ajustement on differents tracks and parts. Dubbing gtr 2, 3 and 5 with a delay on some parts.
Dubbing of the guitar 6 and 7 with a delay on the other part.
Key
Just adjust the level
Vocal
Compression on each tracks and slapback on the vocal 3.
For the vocal, artistic choice with cut the high frequency to have a dark vocal.
Bus Master
SSL Comp
Voila!
Fabox
-
LowlandsWave
- Posts: 32
- Joined: Mon Aug 16, 2021 16:38 CEST
- Location: Arnhem, Netherlands
Re: MIX CHALLENGE - MC100 October 2024 - Submissions until 21-OCT-2024 23:59 UTC+2/CEST
Thank you Jeroen, for having us mix this song .... What a blast and it was a bit of a challenge!
First idea was to get the multi tracks and sort of prepare them for mixing in a nice studio facility in Arnhem; LilHeaven, so it would then become a hybrid mixing experiment (I never mix with large format consoles and outboard gear). Unfortunately schedules didn't match so last Sunday before submission ... Fully In The Box using LUNA,
Aim was to mix it with plenty of energy and keep that "band playing live" feeling.
Drums, Bass, Guitars, Vocals and synths all go to their own bus. Every Bus has a SSL4k E channel strip loaded, True iron and API Summing. These busses land at the mixes. Mixbus has a SSL buscompressor loaded and a Manley massive passive EQ.
Snare track was duplicated and then gated, so you have the original track and a gated (Silencer) track with only the "attack part of the top snare combined together you get a nice blend of top and bottom ... I think.
The vocals were edited to cut out noise, pops en BIG breaths. Then bounced to one track. Multiband compressor to get an even "low end on the vocals and tame the high end (quite drastic). Then put a gate on it and recreate the tails by introducing a parallel delay and reverb. Some de-essing to finish it off.
Electric guitars got treated with the UAD ruby Top Boost, to get a bit more balanced sound with less high's in it. The the mix bus got heated with some Soundtoys radiator.
Lastly the mixbus has an UAD ATR-102 master bus tape recorder.
Here's my mix: MrRockNRoll
First idea was to get the multi tracks and sort of prepare them for mixing in a nice studio facility in Arnhem; LilHeaven, so it would then become a hybrid mixing experiment (I never mix with large format consoles and outboard gear). Unfortunately schedules didn't match so last Sunday before submission ... Fully In The Box using LUNA,
Aim was to mix it with plenty of energy and keep that "band playing live" feeling.
Drums, Bass, Guitars, Vocals and synths all go to their own bus. Every Bus has a SSL4k E channel strip loaded, True iron and API Summing. These busses land at the mixes. Mixbus has a SSL buscompressor loaded and a Manley massive passive EQ.
Snare track was duplicated and then gated, so you have the original track and a gated (Silencer) track with only the "attack part of the top snare combined together you get a nice blend of top and bottom ... I think.
The vocals were edited to cut out noise, pops en BIG breaths. Then bounced to one track. Multiband compressor to get an even "low end on the vocals and tame the high end (quite drastic). Then put a gate on it and recreate the tails by introducing a parallel delay and reverb. Some de-essing to finish it off.
Electric guitars got treated with the UAD ruby Top Boost, to get a bit more balanced sound with less high's in it. The the mix bus got heated with some Soundtoys radiator.
Lastly the mixbus has an UAD ATR-102 master bus tape recorder.
Here's my mix: MrRockNRoll
Re: MIX CHALLENGE - MC100 October 2024 - Submissions until 21-OCT-2024 23:59 UTC+2/CEST
Hi Everyone!
Thanks to Jeroen for letting us mix your track.
Here's my contribution Mr Rock N Roll
The stems had a few challenges. But I've spent the most time on the snare, kick and guitars.
All tracks have an EQ on them unless specified.
I wanted to keep it raw and somewhat "live". So all instruments are sent to a bus with a TR5 Sunset Studio Reverb plugin. It's just on a little bit to bring it together.
Drums:
Most work has gone to the snare. I duplicated the original snare track and reversed the polarity to take out some of the bleeds. I added some EQ and a compressor + a transient shaper to tame the gated original track. Most of the body of the snare comes from the OH's and the Room.
Bass:
I just duplicated the track and added a distorted copy. Both tracks are EQ'd With S1's native EQ, compressed with TR5 Comprexxor and then bussed together with some more compression.
Guitars: EQ and just panning them out. I bussed what I considered the "rhythm guitars" and ran that trough a Scheps Omni Channel and RoughRider3 compression.
Vocals: Tricky when they where so processed. But I tried to balance them somewhat and used the TR5 Joe Chiccarelli Vocal Strip on the chorus and Silk Vocal on the verse.
I hope I did it correctly when sharing the file.
/D
Thanks to Jeroen for letting us mix your track.
Here's my contribution Mr Rock N Roll
The stems had a few challenges. But I've spent the most time on the snare, kick and guitars.
All tracks have an EQ on them unless specified.
I wanted to keep it raw and somewhat "live". So all instruments are sent to a bus with a TR5 Sunset Studio Reverb plugin. It's just on a little bit to bring it together.
Drums:
Most work has gone to the snare. I duplicated the original snare track and reversed the polarity to take out some of the bleeds. I added some EQ and a compressor + a transient shaper to tame the gated original track. Most of the body of the snare comes from the OH's and the Room.
Bass:
I just duplicated the track and added a distorted copy. Both tracks are EQ'd With S1's native EQ, compressed with TR5 Comprexxor and then bussed together with some more compression.
Guitars: EQ and just panning them out. I bussed what I considered the "rhythm guitars" and ran that trough a Scheps Omni Channel and RoughRider3 compression.
Vocals: Tricky when they where so processed. But I tried to balance them somewhat and used the TR5 Joe Chiccarelli Vocal Strip on the chorus and Silk Vocal on the verse.
I hope I did it correctly when sharing the file.
/D
-
Mister Fox
- Site Admin
- Posts: 3360
- Joined: Fri Mar 31, 2017 16:15 CEST
- Location: Berlin, Germany
MIX CHALLENGE - MC100 October 2024 - Submissions until 21-OCT-2024 23:59 UTC+2/CEST
A friendly reminder:We're in the final 24 hours to submit your mix.
So far, we have 84 entries (compared to 201 Mix Pack downloads -- 44x LZMA compressed ZIP, 157x regular ZIP).
If you've been sitting on your mix, now is the time to get everything sorted out, post both your link and documentation. Please pay attention to detail. Do not put your entry at risk of being disqualified.
There are several mixes submitted that do not adhere to the given filename specs, or are even accessible to download. Mostly from new participants. This is a one-time warning: you can edit your filename on the uploaded service without changing anything else. Do this by the time the deadline has been reached. No re-uploads - your submission is final (I got all files downloaded up until this point, I can and will double check this).
Also try to prevent to post at the very last minute to not run into server issues (see Global Countdown).
There will be no deadline extension!Let the submission's "final rush" commence...
-
Paramnesia
- Posts: 2
- Joined: Mon Oct 21, 2024 05:39 CEST
Re: MIX CHALLENGE - MC100 October 2024 - Submissions until 21-OCT-2024 23:59 UTC+2/CEST
Here is my submission for the MC100 challenge!
https://drive.google.com/file/d/1Mz37IO ... drive_link
Bass: I loved the mids that the original track used just felt like it needed a bit of drive and a touch up on the bottom end just to help drive the song a bit harder and fill in some space on some of the drum tracks.
Drums: Not the best sounding kit lots of bleed on the bass drum made it hard to pull some slap out of the kick but I think it worked in the end got a bit more out of the room mic. The snare was pretty rough too tried to EQ out some garbage in there and then boosted the low end just to give it some body then slapped on some really fake reverb to help it crack a bit harder turned out not bad in the end. I didn't do a lot to the toms I think they sound the best of any part of the kit. Parallel compression used as well.
Guitars: For the rhythm I just kinda started playing with the panning just to space everything out and see how it felt to start. After that it was just a bit of EQ work and some saturation I felt the original sound was pretty flat so just needed to help them pop a bit more and clear up some mess in the mid range especially. For the leads just did some low end control and a bit of a high end boost then just watched for any peaks.
Vocals: Really tried to focus on cleaning up some of the EQ on the mics. The effects used previously werent to my taste so I had to try to work around them as much as possible. Tried to make the gang vocals really sound like a crowd cheering to give the song a bit more of a live feel.
Overall mix: Just tried to clean everything up as much as possible to give everything a chance to breathe and showcase the parts I think in the end my favorite part of this song was the bass. Has some cool runs and really helps to drive the song forward and was really only lacking a bit of drive to really make it stand out.
Had a great time with the song and goodluck to everyone thanks for listening!
https://drive.google.com/file/d/1Mz37IO ... drive_link
Bass: I loved the mids that the original track used just felt like it needed a bit of drive and a touch up on the bottom end just to help drive the song a bit harder and fill in some space on some of the drum tracks.
Drums: Not the best sounding kit lots of bleed on the bass drum made it hard to pull some slap out of the kick but I think it worked in the end got a bit more out of the room mic. The snare was pretty rough too tried to EQ out some garbage in there and then boosted the low end just to give it some body then slapped on some really fake reverb to help it crack a bit harder turned out not bad in the end. I didn't do a lot to the toms I think they sound the best of any part of the kit. Parallel compression used as well.
Guitars: For the rhythm I just kinda started playing with the panning just to space everything out and see how it felt to start. After that it was just a bit of EQ work and some saturation I felt the original sound was pretty flat so just needed to help them pop a bit more and clear up some mess in the mid range especially. For the leads just did some low end control and a bit of a high end boost then just watched for any peaks.
Vocals: Really tried to focus on cleaning up some of the EQ on the mics. The effects used previously werent to my taste so I had to try to work around them as much as possible. Tried to make the gang vocals really sound like a crowd cheering to give the song a bit more of a live feel.
Overall mix: Just tried to clean everything up as much as possible to give everything a chance to breathe and showcase the parts I think in the end my favorite part of this song was the bass. Has some cool runs and really helps to drive the song forward and was really only lacking a bit of drive to really make it stand out.
Had a great time with the song and goodluck to everyone thanks for listening!