Mix Challenge

Hi,

Thank you for this great song. It was really a pleasure to mix and I have not grown tired of listening to it yet. ;-)

Here is my take on it:

MP3
WAV

Drums: Waves SSL channel on each track, a bit of saturation on the drum buss plus some room reverb
Bass: EQ and MaxxBass
Guitars: EQ, Airwindows Guitar Conditioner and stereo field processing on some. EQ and slight compression on the guitar buss plus reverb
Voice: volume automation, Scheps Omni Channel, Airwindows Air and Density, reverb and delay added to parts of the interlude
Stereo buss; SSL G comp, Waves Vitamin, a bit of EQ and tape saturation

Greetings everybody!

Rahel - thanks for great song, really enjoyed to mix it!

A little information about mix. For last year Acustica Audio plugins became my favourites so I used them a lot in this work
I compressed kick and toms with Water and snare with Ebony. Room encoded to LR and compressed with FG-Stress. Pink 2 on mixbus
Bass - Pink and Ebony again, a little bit Decapitator saturation.
I re-amped chorus DI guitars and mixed them with existing ones.
Guitars - a little bit chorus before last chorus ))
Lead vocal - Compressed with Pink 2, Ebony reverb and Echoboy delays. A little bit Microshift at last chorus.

So, here it is


MP3
WAV

- Sergey -

Hi there, it's my first post here.

The song is very straightforward and in my opinion these kind of mix are the most challenging.
I used a lot of parallel compression/distortion/EQ to keep the natural feel of the recorded material.
I reamped a DI guitar to reach the "wall of sound" effect on the chorus.
Also I divided the voice in three part so I could be more accurate with delays and reverbs.

I use Soundtoys, some FFs, Reaper stock and a bunch of other plugins that are free/low cost!

Here's the link to my work:
https://fidbak.audio/gioelecortese/play ... fb7/a8b04e

Have a good day!

Mix Challenge 47

Greetings all, great song and thanks to Rahel for the opportunity to mix this one.

No Drum replacement used, no re-amped guitars, and no samples


Wav

MP3


Drums—Waves and UAD plugins used, UAD 1176 on Parallel Drum Bus

Bass—LA2A style comp/limiter, basic EQ

Guitars Clean—CLA-3A, basic EQ

Guitars Chorus— UAD SSL E Channel

Vocals— UAD 1176, UAD LA2A, BX Saturator, H—Delay, UAD Pure Plate separated Vocals to make processing and automating simplistic

Master Bus—UAD Oxide. UAD SSL G Bus Comp


Thank for the opportunity to mix!

Here is my submission. It was a pleasure working with her wonderfully clear voice! Another nice track from Rahel. Her voice in the middle break is stunning.


DRUMS:
I used only the original drum tracks provided. No triggers/samples used.
Kicks-FF ProQ2 and ProG. Kush Omega458a and Drawmer
Snares - FF ProQ2, ProG. Kush Electra and UBK-1
I did set up and use the Mid/Side and mixed it in to taste. Cool!

Bass:
FF ProQ2, Tubetech Cl1b eq/compression. Split high range to add saturation for definition.

Guitars:
I did use all of the live tracks. I also used the DI and put it through Softube Vintage Amp room for slightly pushed Marshall plexi mid-gain to add midrange and definition. Guitars had API 550a eqs on them and echoes on a few.

I also added a Vox AC30 tremolo on one side of the clean guitars.

VOX:
I loved the clarity in her voice and added some plate reverb to enhance that in the verses and break. FF ProQ2 and Puigchild comp and slap also added.

On the choruses, I played around with tripling the vocal, spreading them, and then added distortion and overdriven comps with different eqs on each track to add contrast and thicken up the choruses and buildup to the end. Also added Echoboy for delays.

Mixbus 1.5-2:1 Comp and Softube Tape for glue. No limiting.

Thanks for the music and to Mister Fox for running the show!

Cheers

Kevin White



Here are the tracks:

WAV: https://drive.google.com/file/d/1K_S_D0 ... sp=sharing

MP3: https://drive.google.com/file/d/1joTh8J ... sp=sharing

Hello Rahel/Baker Productions and everybody,

Well, it's been a pleasure mixing this song. Very good song by a very talented artist with an incredibly beautiful voice. Since it's a pop rock, and considering the words from the song provider, I tried to make it sound in the likes of a 90's pop rock song of the same kind and at the same time very contemporary, making the guitars grungier, using delay on the vocal (chorus), a classic 60's all tube British console (Abbey Road REDD) emulation and tape emulation.

Bass - both used and blended (tried to make it sound in a way I think it really sits well in this song)

Bass Amp - EQ (TDR VOS SlickEQ) + Comp (ModernLostAngel)

Bass DI - Amp (VeeBassAmp2) + EQ (TDR VOS SlickEQ) + Comp (ModernLostAngel)

Bus - EQ (ReaEQ [cuts, boost & improvement])


Drums - EQ (BaxterEQ [cuts & adjusts]) + Gate (DD Gate) + Comp (ModernLostAngel) + EQ (BootEQmkII [boost, improvement on certain frequencies & saturation], SL84) + Room (A1StereoControl [Room M/S], Omnissone, Classic Reverb)

Bus - EQ (ReaEQ [cuts, boost & improvement])


Guitars - both used and blended (tried to make them sound more defined, present, heavy, punchy and grungy in a way too, so I kept Git Amp as it is, just EQ'd, compressed and added a little bit of reverb; Git DI amplified [California Sun to the heavier and Gimme Head to the grungier], EQ'd, compressed + reverb)

Git Amp - EQ (BootEQmkII [cuts, improvement & saturation] + Comp (ModernLostAngel)

Git DI - Amp (Gimme Head | California Sun) + EQ (BootEQmkII [same as to Git Amp]) + Comp (ModernLostAngel)

Bus - EQ (ReaEQ [boost/some adjusts on certain freq.]) + Room (stock Reverb)


LVox - EQ (ReaEQ [cuts & adjusts on certain freq.]) + Comp (ModernLostAngel) + EQ (TDR VOS SlickEQ [boost & improvement]) + Room (Classic Reverb, NastyDLAmkII)


Mix Bus - EQ (ReaEQ [cuts & boost on certain freq.] + Console (Code Red Free) + Comp (Rocket) + Exciter (Modern Exciter) + Tape (FerricTDS)


+ automation


Mixed in Acid Pro


Here's my humble submission:

WAV: https://drive.google.com/open?id=1V04w5 ... -B2tjJ4cZn
MP3: https://drive.google.com/open?id=11_iiV ... k3bvGly_Ob


Hope you enjoy!

Cheers,
Samuel

A friendly reminder:
Including today, 7 days left to submit your mix.

Hi everyone, glad to be back.

Here it is:

WAV: https://drive.google.com/open?id=19CMma ... Cq1HgDORuu
MP3: https://drive.google.com/open?id=1pbcqI ... a1HU3UfGci

As many have already commented It was a real plasure to mix something so well recorded and with so many options, a little but inatimidating at first but a lot of fun nonetheless. I ended up using all of the tracks, the DIs turned out to be really helpful.

First thing I mixed was the drums, basically what I did was to heavily process most of the trakcs, compression and saturation wise, making sure to keep the phase adding up wich was kind of a pain considering how many tracks there were lol.
I used OTT compressor for the toms and for the center overhead to really squash the sound and make it agressive, I also added OTT to the drum bus but with a lower fx mix.

Once I was happy with the sound I moved on to the bass, I used the amped bass as a "dry" signal to mix with the DI compressed and processed with the BOD by TSE audio.

I kind of did the same thing for the clean guitars, using the amped ones as a dry signal blended with the DI which had chorus added on them, I also automated a detune fx on the clean guitar bus to be activate during the chorus in order to get a little bit more of a diffuse sound and make room for the distorted tracks, I also lowered the volume during those sections.

For the vocals a little bit of eq, compression, de-esser. I added a pretty long reverb and automated the volume to lower about 6dB during the chorus to prevent it from mudding up the mix and to push the vocal forward, added 1/8 delay during the chorus, also automated to open up during the last word of each sentence, automated the overall gain of the delay and feedback to get a long tail at the end of the second chorus, then I did kind of the opposite at the end of the bridge to increase the feedback into the final chorus. I also used paralel processing for the last chorus, I copied the track and added distortion, chorus and filtered the low and high end to focus on the midrange and to prevent excesive sibilances.

For the distorted guitars I initially only used the amped tracks, I find them very similar in style to the sound of nevermind by nirvana but a little too much exaggerated for my taste so I ended up blending the signal with the DI tracks, using Lecto amp by poulin and some free Impulse response cabinets I got a more mid heavy tone that mixed well with the high end of the recorded tracks.

Thats pretty much it apart from some added reverb on the snare drum and clean guitars, I also took down the overall level of the mix during the bridge to make the last chorus have more impact, finally I used a fragment of the distorted guitar tracks and reversed it so "suck in" to the last chorus since I thought the silence at the end of the bridge was a bit too long.

I hope you like it, and good luck to all the participants!

Hello. I will participate this time as well.

WAV: http://colabo-share.s3-ap-northeast-1.a ... ruhitp.wav
MP3: http://colabo-share.s3-ap-northeast-1.a ... ruhitp.mp3

This time, respecting the atmosphere of the original MIX, I focused on summarizing the first half natural, aggressively putting the second half aggressively.

• Drum
  Each stem data was recorded with clear usage, so it did not have any hard time to equalization.
  Exceptionally, only the hi-hat went around snare and kick was big, so the wraparound was reduced by the expander.
  All equalizing and initial compression are done with SSL 4000-E channel strip plugin.
  Room mike's sound is adjusted in tone quality, about 40% of about 1 second of reverb is added, and it is mixed in on-mic type MIX.
  In the latter half of the song, I use Room Mike MIX as gate reverb.

• Base
  I started making the bass at the beginning of MIX. It is based on the sound of the amp so that it becomes the base of the bass range of the whole song.
  All equalizing and initial compression are done with SSL 4000-E channel strip plugin.
  The sound of the line makes it possible to feel a sense of rhythm further using the parallel comp.
  The ratio of microphone and line is about 2:1.

• Guitar
  There was hardly a part to adjust the sound of the amplifier with a wonderful recording. It is the extent that I cut down the mid and low range which conflicts with the base.
  All equalization is done with SSL 4000-E channel strip plugin.
  As for the sound of the line, as for the Guitar 3, the lack of the distortion of the sound of the amplifier was felt, so a slightly distorted sound is added through the amp simulator.

• Vocal
  In the original MIX, the first half is dry and the second half is wet sound by reverb. Originality without breaking this atmosphere
  I focused on putting out.
  In the first half, plate reverb with 192 ms pre-delay was thinly added, in the latter half Phaser with Reel ADT and four tap delays deeply
  I am calling. Also, at the end of the song I'm daringly cutting off the delay sound.

I use the SSL-G compressor plug-in for the bus mix of only instruments.

Here's my submission for the contest

WAV https://www.dropbox.com/s/d20wqsz4jus5g ... n.wav?dl=0
MP3 https://www.dropbox.com/s/2spsgkg84zcrh ... n.mp3?dl=0

Slate VTM and BX SSL on most tracks

Drums - I didn't use any drum replacement or reinforcement. Parallel compression on the drum buss and some saturation on the snare to bring out more of the snare crack. Used Slate Trigger just for gating of the snare. Also small amount of saturation on the drum buss overall
Bass - Not too much done to the bass, EQ and re-amp the DI
Guitars - Re-amped the DI tracks, some delay and reverb on the quieter guitar parts. Trackspacer sidechained to the vocals to give the vocals a bit more space
Vocals - Acustica Pink 2 channel strip, opto compression and automated delay and reverb

No processing on the mix buss.

Great song, hope you all enjoy it!