Mix Challenge

Link : https://drive.google.com/file/d/12MqSYL ... sp=sharing

Hello, a console 1 lover here. I used console 1 extensively in dry mix. Kick, snare, hihat, bass... every channels.
As a console 1 channel strip, British Class A is suitable for this band sound. Neve's crunchy saturation is perfect.
Additionally, the RedlightDistortion(Studio One stock distortion plugin) is used to make a tube sound in guitar.
Vocal should need a de-esser. I used Pro-DS.
For wet mix, Lexicon PCM Reverb is awesome. For exceptionally clean reverb, Pro-R would be great. Delay? Soundtoys EchoBoy.
At the bus track, the Novatron from Kush Audio make vocal and drums its presence. Also, Weiss and SSL Fusion plugin is good for bus tracks.

Thanks.

Sincerely, qhtrvw425

Alright, happy to join in! Here's my take:

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

Drums - Standard EQ and light compression on kick/snare. Some notching on overheads. Had the most trouble with the snare, could really use some room mics/bottom snare mic and/or a sample to help bring out the tail. Did the best I could by duplicating the track and gating/transient designer, still not happy with it. Light compression on drum bus.

Bass - little dirt, compression and EQ to dip mids and get rid of annoying pick attack.

Guitars - EQ'd each track a little, light compression and a little reverb and delay on bus. Duplicated main acoustic and dirtied it up. Lead guitar not sent to bus, EQ'd out harshness, added delay and automated a lot.

Synths - nothing but a little automation

Vocals - Some tuning, minor EQ and compression. Multiband compression to control strident upper mids. Send to slap, small verb and longer delay in chorus. BGV's just EQ and light compression, send to same FX as lead.

Mix bus - mixed into compressor, 2-3 db gain reduction. Very small (.7db) wide q dip in upper mids.

Automated lead vox and lead guitar quite a bit, otherwise pretty simple mix.

Looking forward to hearing others take on the tune!

-Orifice Studios

Hello Everyone,
It is so very cool to see and hear all of your responses, speaking on behalf of my bandmates and myself, we are blown away by your work and efforts. We have a really good problem which is, it will be very challenging to choose our favorite. The tech notes are amazing to read, keep up the good work and good luck. Thanks to everyone for letting us be a part of this, Peace and Love to you all, Tom McMillan for the Buddy Blake Band.

Okay, here's my take on this song!

Firstly, thanks to the song provider. I know by experience it takes a lot of work and effort.

So, I think the most challenging (or interesting) part of this mix were the drums, so I'll get the other stuff out of the way 1st.

The bass was pretty straight forward. Round up the top end, distortion, compression and a bit of eq. Leave the lower end for the kick drum and let it dominate the mid range (800-ish Hz)

The guitars:
Leave the rhythm guitar pretty much as it is (some eq) and for the lead guitar I listened to the reference and automated the volume between the parts where is acting as a 2nd rhythm guitar and the parts where's leading (actually split it in 2 tracks, the lead one dead center and the rhythm one panned)

The voice:
Other than the usual (eq, compression, etc.) I made 4 copies of it, slightly detuned and phased, and panned them. Then, I added them under the main track. Also created another vocal track pitched 1 octave down. The main vocal track also has a bit of slap delay and verb.

The drums:
The kick and snare presented some problems because of the spill. I did similar stuff to both of them: splitting them between high freq/low freq and treating each separately. This way I could round up the low end of the kick and keep the snare as clear as I could. I also added a room track to the whole set that also adds some kind of very subtle kinda swell delay that really fit the song IMO.

Mix bus:
API 2500 compressing slightly, Passive EQ from SLP adding some higs, mids and lows, and tape emulation from Slate adding body.

I hope you enjoy the mix. I'm gonna upload it to my own instance of nextcloud, so I hope there are no problems downloading it. Just let me know if there is any issue.

https://nc.octopusonfire.xyz/index.php/ ... kXZFZafgCQ

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

This is my first time on this site and I'm quite new to mixing. Everyones submission is great and I wanted to give it a try.

I used some saturation to get the vocals to pop and a lot of compression to tame the drums and guitars. I used a bit of spectral shaping to contain the harshness found in the distorted guitars as well.

Most of the mix was panning and balancing. I used some reverb and delays on create some depth in the mix as well. Those drums (particularly the snare) were a challenge to get under control.

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

Hi guys,
als my first post on the site, which I recently discovered.
Thanks for hosting this and to the band for providing the song!

My mix:
https://drive.google.com/file/d/1ZrVde0 ... sp=sharing

Documentation:
Hybrid setup. REAPER 6, hardware insert on master bus.
I was going for replicating an SSL mixing desk, with SSL channel dynamics and EQ, and SSL master bus compression

Individual channels:
All channel dynamics (gate, compression) were Waves SSL EV2.
All channel EQ was SSL type EQ (impulse response based similar to Acustica SAND).
Kick & Snare duplicated and EQ´ed into reverb send
On Snare a touch of elysia nvelop transient shaper (increase attack)
Most notable processing comes from Oeksound soothe2 on Guitars and Vocals, to get rid of resonances
On Vocals a pinch of chorus, widening and long delay
On Bass a pinch of chorus
Other than that only EQ, Dynamics, Reverb

Master Bus:
SSL hardware bus compressor as insert
Limiter doing next to nothing, to match the given loudness rules

Hi !

My perception for this recording when I listened the individual tracks through my rough mix, was to have a 4-piece rock band that doesn’t need anything more.
The overdubs should add just a little “salt”, not playing an important role.
So I’ve mixed that track with that perception in my mind. I aimed to have guitars-drums-bass-lead vocal always upfront and not fighting each other and most important WITHOUT Automation, like having a rock band playing in front of you..

So again for this one I just used EQs, Compressors, Gates and Reverbs like working on an analog console. No fancy tricks and engineering methods. At the final stage I did not use automation at all like I used to do.

Hope you like it!

Link:
https://www.dropbox.com/s/p2dgpulddl1h2 ... p.wav?dl=0


Cheers,
Doobop

Hi everyone,

I thank the song provider for providing wonderful material for practice. I enjoyed mixing your song.

Here is the mix: MIX

Drums:

Parallel compression of the entire installation. Individual subtractive equalization and compression. A little saturation, compression and tape on the drum group. The kick partially had to be cut by hand.

Bass:

Tape saturation, equalization and compression.

Synth:

EQ and compression

Hammond:

A little tape and equalization.

Guitars:

EQ, delay, compression and equalization.

Vocals:

de esser, EQ, comp, Soothe 2, parallel compression.

Master:

There is a bit of tape saturation and compression on the master


Good luck to everyone!
Cheers

hi thank u for letting us mix ur song

https://www.dropbox.com/s/orugr6ghmphcl ... F.wav?dl=0

i decided to go with a "dirty" approach while keeping the "rawness" of the rough mix.

i cleaned the snare hits, but even so it seems they were processed before. i automated the Rbass plugin in the fills.

the guitars i kept one steady, and one old school with some pan automation, and reverb automation on solos.

tried to make it less harsh than the original, but keeping the raw feeling.

if u want to compare with ur original rough, just add 8.2 dbs.

thank u!