Mix Challenge

Quick reply for whatever concerns my submission (since I've already stated my opinion on such rules):

I will do anything to make the track sound great. If this includes losing the challenge, I am okay with that.
To me, there's no difference between passing the provided bass track through my own amp sim with a fuzz pedal and adding my own samples to the live drums, yet apparently there's no controversy about the former technique and a lot about the later. If my mix is bad, it is bad no matter where I place most of the processing, or whatever extra stuff I add. I use a lot of processes in parallel that go to the 2bus, and multiple plugins of the same kind doing a little work each. Should I use multiple instances of the same plugin across different tracks instead?

It is publicly known that legit pro mixers use these techniques everyday, even before triggers were a thing. To me it is not cheating, as you can royally screw up your mixes doing that. Same goes for the 2bus processing. Cheating would be using a "magic tool" that makes your mix better no matter what, but the client decides subjectively, so there's no such thing. It all depends on my taste, talent and experience when doing these techniques. There's no "super sample" that will fit itself flawlessly into the mix right off the bat.

If I'm wrong, please somebody tell me what's the one trick that will make every client choose my mix over the others 100% of the time. (I'll probably use it! )

Spoiler alert: there is none.



Regarding drum triggering - to me, the main idea (and especially with a Mix Challenge like this) is to max out all available resources first, then(!) think about using samples for sound enhancement which in turn can completely change the sound the song provider carefully modeled in the first place.

With modern day tools these days, you can completely change a sound without even thinking having to browser to your sample folder (a transient designer comes to mind, or Waves Torque - and yes, sub-synth like bx_subsynth would technically also not be drum triggering, but a mix if sub-harmonic enhancement and gated sine wave triggering).


The client will post about his opinion in a bit.

OctopusOnFire wrote: ↑

Fri Jun 15, 2018 17:41 CEST

I use a lot of processes in parallel that go to the 2bus, and multiple plugins of the same kind doing a little work each. Should I use multiple instances of the same plugin across different tracks instead?

As you were using a lot of parellel compression busses, I don’t think you could end up to the same great end result by using plenty of separate compressors on each and every track. As you know, one big idea with that parallel ”Rear Bus” technique is how those many separate tracks interact in one and same compressor. So, I don’t think that those techniques belong at all to the category of ”2 bus processing”. It’s great sonic shaping tool. and it happens before the final 2 bus.

OctopusOnFire wrote: ↑

Fri Jun 15, 2018 17:41 CEST

If I'm wrong, please somebody tell me what's the one trick that will make every client choose my mix over the others 100% of the time. (I'll probably use it! )

Actually there’s one great simple solution. It’s an old and free ”Massey Tools” plugin and it includes one magical tool that in the long run will solve all one’s mixing problems if used correctly. You can put it on your master buss. So what it does? It just hides all your plugins and meters by opening a full screen window that says ”listen”. Actually it’s quite difficult to use as it’s more natural to listen with eyes, but with lot’s of training it will make a big difference. Well, you probably won’t need that plugins as your mix is very nice already.

Hey guys,

Regarding samples, the one thing I can say is I don't care what you use. I provided the samples I used in case you wanted to use them. That being said, I only care about the new mix being kick-ass. Using samples should not make or break a mix. You read what I am after, I will choose the mix based on overall sound, feel and dynamics.

I don't want to give this subject a single minute more of my attention. If I hire anyone to mix a song of mine, that person better make sure his/her mix blows my mix out of the water. If you think a sample will do that, fine by me, but rest assured there are a multitude of things more important than what tools you use to mix. This song is almost 10 years old. But this are the samples I used when I produced it, could there be better sounds? No doubt. Can I be sold on a new overall sound? You betcha! But it better be amazing, otherwise I will gravitate towards my benchmark, and you know what that is: the sound and texture I constructed when I produced it.

-Leo

Olli H wrote: ↑

Fri Jun 15, 2018 20:49 CEST

As you were using a lot of parellel compression busses, I don’t think you could end up to the same great end result by using plenty of separate compressors on each and every track. As you know, one big idea with that parallel ”Rear Bus” technique is how those many separate tracks interact in one and same compressor. So, I don’t think that those techniques belong at all to the category of ”2 bus processing”. It’s great sonic shaping tool. and it happens before the final 2 bus.

Yeah, I agree. I just include them in the "2bus category" for convenience, in the description.

Olli H wrote: ↑

Fri Jun 15, 2018 20:49 CEST

Actually there’s one great simple solution. It’s an old and free ”Massey Tools” plugin and it includes one magical tool that in the long run will solve all one’s mixing problems if used correctly. You can put it on your master buss. So what it does? It just hides all your plugins and meters by opening a full screen window that says ”listen”. Actually it’s quite difficult to use as it’s more natural to listen with eyes, but with lot’s of training it will make a big difference.

Preach!!

Baddo wrote: ↑

Fri Jun 15, 2018 22:07 CEST

Hey guys...

-Leo

Thanks for the clarification, Leo. I'm 100% with you!

A great composition and very well recorded tracks, especially the guitars and bass guitar. Tremendous playing, I must say.

I used the original drums. No personal samples added (I've never done that on this forum).
I kept the guitars. No reamping here.
I kept the bass guitar. No reamping here.
I did not find use for the "C01" guitar mic tracks.
I did not find use for the "Drum Processor" track.

One of my main efforts in mixing this song has been to avoid a gaping hole in the middle. I have tried to create stronger guitars in the mid channel.The reference mix, to me, is a "good" example of how detached the stereo image becomes when panning too wide. Maybe a matter of taste? Impressive at first listen, but soon becomes unnatural and un-glued to listen to. By panning so wide, clarity is obtained quite easily, but at the price of solid projection.

I did a lot to maintain and improve punch from everything, using loads of automation, transient shaping and also saturation. NI Transient Master and Soundtoys Sie-Q are amazing tools in this department. Wavesfactory Spectre as well, as it can lift certain frequencies in a track with ease to improve clarity using harmonics (distortion). I have hit certain parts very hard with saturation/distortion.

I've used BRA's equalizers almost exclusively to sculpt the low mids and the low end. I love these plugins to death. I think the secret to them is no real time analyzer display and great, proven curves.

With regards to the guitar sound, I forced myself to inject some mid frequencies into them, to avoid a too scooped-out sound. It is tempting to scoop them and have a huge low-end to them, but as there are no vocals, I felt I needed to fill the gap. For the same reason, I balanced the 421's quieter than the 57's of every guitar.

wav: MC044_-_Leonardo Badinella_-_Kat Kat Katan_-_HenrikHjortnaes.wav
mp3: MC044_-_Leonardo Badinella_-_Kat Kat Katan_-_HenrikHjortnaes.mp3

(deleted) I don't know how this double (triple) posting happened. Sorry.

(deleted) I don't know how this double (triple) posting happened. Sorry.

Baddo wrote: ↑

Fri Jun 15, 2018 22:07 CEST

Hey guys,

Regarding samples, the one thing I can say is I don't care what you use. I provided the samples I used in case you wanted to use them. That being said, I only care about the new mix being kick-ass. Using samples should not make or break a mix. You read what I am after, I will choose the mix based on overall sound, feel and dynamics.

I don't want to give this subject a single minute more of my attention. If I hire anyone to mix a song of mine, that person better make sure his/her mix blows my mix out of the water. If you think a sample will do that, fine by me, but rest assured there are a multitude of things more important than what tools you use to mix. This song is almost 10 years old. But this are the samples I used when I produced it, could there be better sounds? No doubt. Can I be sold on a new overall sound? You betcha! But it better be amazing, otherwise I will gravitate towards my benchmark, and you know what that is: the sound and texture I constructed when I produced it.

-Leo

Now everyone who already sent track, have right to cry that they want to resubmit track, because rules have been changed

Now everyone who already sent track, have right to cry that they want to resubmit track, because rules have been changed

I agree.

I do not understand the point in telling that rules are bad if you do not even respect them.

I do not appreciate that rules change after a game has started.

This is disrespectful to those who may agree that rules are bad, but who respect the game and the contestants.


People here may not agree with that, but I would never play poker with them.