2025-JUN-01 Info: Join your current running games MC104 (genre: Synth-Pop) and SWC094 (Picture Theme, genre: free to select).

MIX CHALLENGE - MC104 June 2025 - Submissions until 21-JUN-2025 23:59 UTC+2/CEST

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sjottasound
Posts: 1
Joined: Wed May 21, 2025 00:16 CEST

Re: MIX CHALLENGE - MC104 June 2025 - Submissions until 21-JUN-2025 23:59 UTC+2/CEST

#21

Post by sjottasound »

Hello Everyone!

Glad to be part of the competition, with such a nicely arranged song.

Without further ado, here is my entry:
https://samply.app/p/y4N02yWwqC5DH7qWVmbS

Download (under the three dots in line with the file name) is the lossless WAV, streaming can be lossy but it can be set up by clicking audio options in the middle.

First and foremost, details about the monitoring, as they were specifically requested:

my room is untreated and very unfortunate in nature when it comes to acoustics (concrete walls as my studio is in a block of flats, cube-shaped room, not enough space to move my setup), so as a mastering and mixing engineer, my only safe bet was to invest in headphones and simulated environments. Thus the bulk of mixing was done on Beyerdynamic 990 Pro 250 Ohm open-back headphones. Bass and kick separation and other crucial tasks were carried out "dry" but during balancing and adding in the other parts, the Waves Abbey Road Studio 3 plugin was utilized. At the closing stage of the process, I switched over to ADAM Audio's H200 closed-back headphones alongside the ADAM Audio x Sonnox Headphone Utility plugin which was used in externalization (for speaker simulation).

Some highlights of the process:

Since the song was quite epically sweeping and dramatic in theme, I decided I would be braver with effects, which you can hear especially in the choruses where the vocals are sent through a lush atmospheric setting of a Lexicon 224 to give it an elevated space whereas the singing in the verses have a smaller space setting. As quick as the chorus came together, I spent quite some time tinkering with mixing the verse vocals which in the end screamed for their own long reverb tail.

Another thinker was the piano in the last segment which sounded a little bit too dull for my ears dry. Since the arrangement did not really grant it much - it was not played with two hands in multiple different registers, for example - I decided it needed some harmonic frequencies to sound more organic, I added a Waves Abbey Road Saturator into the chain there.

Did some analyzation of the final mix as well which I am sharing here (autodeletes in 3 weeks):
Image
hjchjc
Posts: 46
Joined: Fri Jul 05, 2019 07:19 CEST

Re: MIX CHALLENGE - MC104 June 2025 - Submissions until 21-JUN-2025 23:59 UTC+2/CEST

#22

Post by hjchjc »

I thought of other 80s-inspired pop from the last 15 years or so Carly Rae Jepsen's "Cut To The Feeling" and Tegan and Sara's "Closer" -- the earnestness of this song really struck me and inspired me. This mix is drums-forward but still captured the lovestruck spirit of the original song.

My monitoring is Adam H200 closed-backs, Kali LP-6 speakers, and ATH-R70X open-backs.

All tracks have VMR (for VCC), all summing is done with VCC, all tracks go Virtual Tape Machines, as well as a Pultec for high passfilters. The song was mostly

Drum bus has the Slate Digital VMR Custom Opto

The Reason snare has a pretty aggressive Opto of its own, taking off -5-7 db, while the VSDSX snare has a RX950 downsampler. The toms have a 1989verb gated verb.

The drums, bass, and synth pads are all sent to a heavily saturated SPL Machine Head mixed in parallel with the main tracks, to create a pumping sound. I brought up the synth pads in the final chorus for greater impact.

Vocals were processes with MH ChannelStrip and Precision DeEsser, as well as various delays like echoboy and Stellar Echo (the Slate Digital tape echo). I was thinking of taking away the delay on the vocals in the verses, but I liked how it built momentum so the chorus could feel more surprising -- oh, it's expanding more?

The D50 Fantasia synthesizer's overtones overwhelmed the fundamental frequencies, so I did a band pass to take out the 2khz range. It also provides a greater contrast to the drum intro and brighter tonality of the rest of the mix.

On the mix bus, I cut 1db in the 7-800hz range as I noticed a huge build up of resonances there. I took it off for the piano solo.

-1.03 tpdb
-16.2 LUFS

https://drive.google.com/file/d/1DLufcS ... sp=sharing
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