Re: MIX CHALLENGE - MC069 September 2020 - Submissions until 21-09-2020 23:59 UTC+2/CEST
Posted: Sun Sep 20, 2020 18:36 CEST
Dear Joshua and the Mix Challenge community,
Please find my submission for MC069 here: https://www.dropbox.com/s/2omkna10h7u8q ... d.wav?dl=0
My mix was don ITB (Logic Pro X). All tracks were used.
My main focus was on the vocals throughout the whole song. All of the tracks containing vocals were individually cleaned up (clicks & other noises removed, breaths attenuated, etc.) then they were automated with a fader rider and/or hit with compressors (anywhere from just one to as many as three in series) to try to even the performance out. In an effort to keep things intimate, yet upfront, I left some tracks bone dry, and blended them with the doubled tracks soaked in reverb. The lead vocals are panned up the middle, while the background vocals are panned to various degrees of left and right to spread the image. There's also a little delay used for echo on a couple of the BGs.
The bass tracks were pretty dynamic by song sections. I assumed that was on purpose, so I kept it that way. Basically just hit it with EQ and tape saturation.
The percussion tracks were grouped by how they were titled, so I ended up with four stacks, Percussion, Percussion Main (which included the counterpoint & mic scratch tracks), Percussion Loop, and the last one contained the Stomp & Tap tracks. Each of the four stacks were then treated a separate entities, and were EQ'd and panned and hit with reverb. Then the four stacks were bussed to one track. balanced, and hit with some tape saturation to try to glue them all together.
I didn't really see a need to do too much with the guitar, piano, organ, and synth tracks since the effects were printed. I just used panning (some automated and some static) and reverb to set things in their own aural space. I kept an eye on a correlation meter to keep things in the positive.
I used the "rear buss" technique to thicken things up a tad. The master buss has a 2:1 compressor with a gain reduction between -1 & -2 to hold it all together, as well as tape saturation, and an EQ to give a little boost to the highs (I felt they were lacking overall).
Please let me know if there are any questions/ comments/ concerns.
Thank you for listening (and reading), and for your consideration.
Best regards,
Jeff (jeffssoloband)
Please find my submission for MC069 here: https://www.dropbox.com/s/2omkna10h7u8q ... d.wav?dl=0
My mix was don ITB (Logic Pro X). All tracks were used.
My main focus was on the vocals throughout the whole song. All of the tracks containing vocals were individually cleaned up (clicks & other noises removed, breaths attenuated, etc.) then they were automated with a fader rider and/or hit with compressors (anywhere from just one to as many as three in series) to try to even the performance out. In an effort to keep things intimate, yet upfront, I left some tracks bone dry, and blended them with the doubled tracks soaked in reverb. The lead vocals are panned up the middle, while the background vocals are panned to various degrees of left and right to spread the image. There's also a little delay used for echo on a couple of the BGs.
The bass tracks were pretty dynamic by song sections. I assumed that was on purpose, so I kept it that way. Basically just hit it with EQ and tape saturation.
The percussion tracks were grouped by how they were titled, so I ended up with four stacks, Percussion, Percussion Main (which included the counterpoint & mic scratch tracks), Percussion Loop, and the last one contained the Stomp & Tap tracks. Each of the four stacks were then treated a separate entities, and were EQ'd and panned and hit with reverb. Then the four stacks were bussed to one track. balanced, and hit with some tape saturation to try to glue them all together.
I didn't really see a need to do too much with the guitar, piano, organ, and synth tracks since the effects were printed. I just used panning (some automated and some static) and reverb to set things in their own aural space. I kept an eye on a correlation meter to keep things in the positive.
I used the "rear buss" technique to thicken things up a tad. The master buss has a 2:1 compressor with a gain reduction between -1 & -2 to hold it all together, as well as tape saturation, and an EQ to give a little boost to the highs (I felt they were lacking overall).
Please let me know if there are any questions/ comments/ concerns.
Thank you for listening (and reading), and for your consideration.
Best regards,
Jeff (jeffssoloband)
