Mix Challenge

Better late than never, right?

MP3: https://drive.google.com/open?id=0B-HEH ... jhFT0RuUlk
WAV: https://drive.google.com/open?id=0B-HEH ... Gd0TVVzNzg

DAW used: Reaper ver 5.25

I edited some parts of the piano and vibraphone to make the hits match with the kick drum

DRUMS

Kick:
MEqualizer: +3.5dB at 60hz Q:0.33, -5dB at 280hz Q:0.5 , +3dB at 6Khz Q:0,71 and LP filter at 17Khz Q:0.71
MJUCjr Klanghelm (compressor): threshold at -30dB, time constants: slow, +2dB make-up

Snare:
MJUCjr Klanghelm (compressor): threshold at -30dB, time constants: slow
TDR Nova (Eq): HP filter at 80hz, 12dB/oct slope, -2dB at 230hz Q:1.40, -1.8dB at 2.6Khz Q:0.69, +6dB at 10Khz Q: 0.60 high shelving

HH (closed):
HP filter at 400hz
ReaComp: attack 24ms, release 100ms, ratio 5.5, threshold at -33dB

HH pedal:
HP filter at 200hz

Tom tracks (grouped):
HP: 80hz
ReaComp: attack 3ms, release 100ms, ratio 2.4, knee size 3.2dB, threshold at -26dB

Crash 1, crash 2 and ride (grouped):
HP filter at 200hz
ReaComp: attack 3ms, release 100ms, ratio 1.5, knee size 5dB, threshold at -32dB

Drum bus (copy used for parallel processing):
JS Waveshaping distortion: 70%

Bass: I used the dry version
JS Convolution Amp: model Mesa Boogie Clean, preamp at -16dB
Molot (compression): filter at 80hz, threshold at -20dB, knee size 0,6dB, attack 22ms, release 128ms, ratio 2.8dB, midscoop at -3dB, make up at 2,5dB
FabFilter Pro Q2 (Eq): low cut at 30Hz 12dB/oct Q:1, -5dB at 900hz Q:1.3, +2.5dB at 2.5Khz Q:1, high cut at 5Khz 18dB/oct Q:1

Wurly:
ReaEq: HP filter at 125Hz, Q:2, +3.2dB at 800Hz Q:2, -9dB at 2.4Khz Q:0.2, -inf dB at 5Khz Q: 0.18, -infdB high shelf at 10Khz Q:2
ReaComp: attack 3ms, release 227ms, ratio 2, kneesize 2.5dB, threshold -18.1dB
ReaDelay: length 1/4 notes, feedback -9dB, LP filter at 1.5Khz, HP filter at 200hz, pan modulated by LFO with rate of 1hz

Clavinet:
ReaComp: attack 3ms, release 112ms, ratio 2.4, knee size 2.3dB, threshold at -19dB
Js Distortion (Fuzz): shape 14, wet mix -15dB, dry mix -7dB
ReaEq: HP filter at 200hz Q:2, +4.4dB at 900hz Q:1.6, -5dB at 1.5Khz Q: 1.6, high shelf +4.6dB at 3Khz Q:1.4
MFlanger: rate 0.43Hz, feedback 23%
Space Knob- Abletunes (Reverb) at 60%

Piano:
MEqualizer:HP filter at 170hz Q:0.7, +3.5dB at 800hz Q:0.5, high shelf -18dB at 8Khz
MJUCjr Klanghelm (compressor): threshold at -20dB, time constants fast, +6dB make-up
OldSkoolVerb- Voxengo: predelay 16ms, space 70, time 2sec, width 70, damp low 150hz, damp high 4.5Khz, Eqlow -3dB, Eqmid +4.7dB, Wet mix -5dB

Vibraphone 1:
ReaComp1: attack 110ms, release 50ms, ratio 4, knee size 1dB, threshold -28dB
ReaComp2: attack 3.3ms, release 70ms, ratio 5.2dB, knee size 1.1, threshold -17.8dB
ReaEq: HP filter at 400hz Q:1.66, -3.2dB at 1.7Khz Q:1.2, high shelf +7dB at 4Khz Q:1
Doubler 2 - Waves: pan modulated by LFO with rate of 3hz

Vibraphone2:
ReaEq: HP filter at 300hz Q:1.76, -11dB at 2Khz Q:0.5, LP filter at 5Khz Q:2
C1 compressor - Waves: threshold -30dB, ratio 1.28, attack 3ms, release 100ms

Little Phase Organ:
ReaEq: Hp filter at 200hz Q:2, +5dB at 600hz Q:3.2, -4.4dB at 1.5Khz Q:1.4, -infdB at 5Khz Q:1.27
ReaComp: attack 18ms, release 100ms, ratio 1.4, knee size 6dB, threshold -24dB
MetaFlanger - Waves: rate 2hz, depth 13
RVerb - Waves: predelay 9ms, time 2.25, size 82, diffusion 98, decay 3, 40%wet

Brass tracks (grouped):

ReaEq: HP filter at 100hz Q:1.58, -3.6dB at 450hz Q:1, high shelf +5dB at 11Khz Q:1.70
ReaComp: attack 27ms, release 300ms, ratio 2, knee size 2dB, threshold -22dB
RVerb - Waves: predelay 15ms, time 2.2, size 68, diffusion 100, decay 3.25, wet 40%

String Bass:

ReaEq:HP filter at 80hz Q:1.63, -3dB at 900hz Q:1.22, LP filter at 4.5Khz Q:1.8
ReaComp: attack 3ms, release 100ms, ratio 1.5, knee size 3dB, threshold -23dB
Waves Doubler 2 mono.
ReaComp (Sidechain from kick drum): attack 2.7ms, release 200ms, ratio 4, knee size 0.5, threshold -20dB

Fx sends:

snare reverb:
RVerb - Waves: predelay 10ms, time 3, size 70, diffusion 28, decay 3.2

Room reverb: (I sent almost every instrument into this channel to simulate a live room reverb)
Waves Ir-L Full (convolution): rt60 1.5s, ratio 0.32, predelay 0

wurly reverb:(I used this reverb to make a drone sound and automate it so it decays after 2 or 3 bars)
Waves TrueVerb Mono: dimension 3.16, roomsize 7000, distance 0.50, balance 10, decay 45s, density 1.0000

Brass delay:
ReaDelay: left channel 450 ms, right channel 442ms, feedback -9dB, LP filter 4.4Khz, HP filter 800hz.

As a cool trick I used Reaper´s sidechain tool in the clavinet Eq so when the piano was playing it would reduce about 4dB in the 1Khz region.

DR according TT-DR-Meter: 11

Final comments: this was a really nice sounding recording and it was really fun to mix!

davemcisaac wrote: ↑

Sun May 21, 2017 00:37 CEST

Small Ocean wrote: ↑

Sat May 20, 2017 23:04 CEST

Mister Fox wrote: ↑

Sat May 20, 2017 20:25 CEST

I'm not saying you should do the same, but I think perhaps if there were a more simple/straightforward rule, such as a maximum allowed LUFS, as onerob suggested, decided separately for each mix challenge, you would avoid this gradual competitive loudness wars problem.

It might be better to move this conversation to the forum so that el-bo doesn't feel he is in the middle of a conflict

I thing this is worth a dedicated discussion indeed.

I will start one after both MC32 / the AES #142 is over and I have more time (latest, maybe I have more time tonight). Thanks for the input so far. This will also tie in with an upcoming change/enhancement of the Challenge btw.



A friendly reminder:
We're in the last 24 hours of MC32. 16 hours left to submit your mix.

davemcisaac wrote: ↑

Sun May 21, 2017 00:37 CEST

Small Ocean wrote: ↑

Sat May 20, 2017 23:04 CEST

Mister Fox wrote: ↑

Sat May 20, 2017 20:25 CEST

I'm not saying you should do the same, but I think perhaps if there were a more simple/straightforward rule, such as a maximum allowed LUFS, as onerob suggested, decided separately for each mix challenge, you would avoid this gradual competitive loudness wars problem.

It might be better to move this conversation to the forum so that el-bo doesn't feel he is in the middle of a conflict

Agree.

But it's gonna be funny when el-bo sees the page count and thinks "Damn, so many last minute entries!!"

Hey all,

my first entry, glad I could make it in time with my take on this song.
First, thanks to Mister Fox for building this great site and to el-bo for providing this cool track to mix!

mp3: https://drive.google.com/open?id=0B0phm ... HBOWkxBTzQ
wav: https://drive.google.com/open?id=0B0phm ... VFtREo3Skk

I did quite a bit to make the tracks (first) and then the mix sound sonically as good as possible, which is subjective of course. Not sure if I nailed it artistically, maybe it´s a bit too modern sounding for this kind of style but that´s how my mixes always tend to develop when I dive in deep and get carried away .
If anyone is interested, I will be glad to help with more details on the mix process.

I tried to maintain dynamics as good as possible with a minimal amount of mix bus processing. Just EQ, Slate FG Grey that I mixed into, Slate tape machine and a limiter that´s just there for safety.

Would be good to have a separate discussion on the “mastering rules” since I also see the current state quite problematic. As I see it there is no more clear distinction between mixing and mastering these days. In the end it´s about making a song sound great, how this is achieved should be up to the engineer.
And if someone doesn´t know what he´s doing he will in my experience definitely make a mix sound worse by slapping 10 plugins on the master bus so there´s not really a point in banning master bus processing.

A completely different and important point though is to loudness normalize the mixes so the artist can compare them without having to adjust every mix.
Spotify, Apple and YouTube do this automatically as far as I know so in fact overly squashed mixes will sound worse there. So it would be cool if there´s a platform for our purpose where we could upload the tracks to and loudness will be adjusted similarly. Too bad soundcloud does not do that yet I believe…

Anyway, just some thoughts, now this was longer than I thought, sorry about that…

I kept this track on the dry side to sound like a Jazz club environment. Just a touch of verb to give it some space.

I used all the tracks in this mix including the alternates. Both bass tracks, for example, were layered in the choruses.

Cubase 6. No fancy FX or gimics, just EQ, compression and gain riding/clip gain. Only exception being a touch of rotary sim on the phase organ for a little more motion.

-14.3 LUFS integrated.

mp3: https://drive.google.com/file/d/0BxuC5z ... sp=sharing
wave: https://drive.google.com/file/d/0BxuC5z ... sp=sharing

HerbFelho wrote: ↑

Sun May 21, 2017 12:49 CEST

Would be good to have a separate discussion on the “mastering rules” since I also see the current state quite problematic. As I see it there is no more clear distinction between mixing and mastering these days. In the end it´s about making a song sound great, how this is achieved should be up to the engineer.

There is nothing to argue IMO:

Would you use 6+ modules on a hardware outboard console as well and "pre-master" a track? This is a learning process. Mixing is mixing, mastering is mastering.

HerbFelho wrote: ↑

Sun May 21, 2017 12:49 CEST

A completely different and important point though is to loudness normalize the mixes so the artist can compare them without having to adjust every mix.
Spotify, Apple and YouTube do this automatically as far as I know so in fact overly squashed mixes will sound worse there. So it would be cool if there´s a platform for our purpose where we could upload the tracks to and loudness will be adjusted similarly. Too bad soundcloud does not do that yet I believe…

Here is a guide to do this:
http://mix-challenge.com/forum/viewtopic.php?f=13&t=12


Dedicated thread soon.
A couple of hours left to submit your mix.

Hello,

Nice song! And a pleasure to mix. Here's my mix:

Wav: https://www.dropbox.com/s/xadmdif6wky88 ... o.wav?dl=0

MP3: https://www.dropbox.com/s/bvtomlp629088 ... o.mp3?dl=0


I tried to give it a modern sound, but keeping some characteristics and the vibe of the 70's. As a challenge to myself, I decided to only use compressors, equalizers, etc (well, "emulations of"!) that were in use in the studios of the beginning to mid-70's. So, no SSL compressor in the mix bus!

Tape and preamp emulations were vital to give the vibe I wanted here.

For reverb, I only used echo chamber (piano) and plate (drums), besides some tape delays on the other instruments and some room emulation to gel things.

I did a lot of automation as well to bring attention to some nice little details here and there and to support the long-term dynamics of the song.

I hope you like it! I'll be glad to provide more details of the mix if needed.

It is the 22nd May 2017, 0:23o'clock GMT+1/CEST - the first Mix Round has officially ended
We have 17 participants, no submissions after the deadline

Please check all if your links again, make them downloadable. Those that uploaded MP3s only, please take note: providing a FLAC (on low bandwidth)/WAV (on DSL and higher) file is mandatory now. Also please update your posts with minimal documentation if possible.


Good luck to all participants


EDIT:
Thanks to Dave McIsaac for counting the entries for me.

17 entries! Lot's of good competition! I think the new format is working out

Unable to download Wav's from the following participants. Tried yesterday, also


FixInTheMix
Nonlinear
HerbFelho