Mix Challenge

Drums: every type of compression, eq, room plugins, saturation
bass: compression, eq, saturation
guitars: eq, dyn. eq
vocals: phone eq, dyn. eq, compression, saturation

in general a lot of automations to keep control over the dynamics

wav: https://www.dropbox.com/s/7rslvtj3eff1a ... a.wav?dl=0

Cool song! I had a couple aims with this mix: keep the mix raw sounding, put every element upfront, and a little darker overall sound.

Here’s a WAV and MP3:

https://drive.google.com/open?id=1kZ5o2 ... 43YyigwVlk

Kick:

-Augmented the kick track with a sample using Drumagog. This kept the dynamics of the original track better than the trigger, which was one dynamic throughout.
-Gate and a compressor to shape the transients.
-EQ to bring make more distinct.
-Some parallel compression to bring out punch.
-Some very short verb added to blend.

Snare:
-Used snare top only.
-Gate and a compressor to shape the transients.
-EQ to make brighten it up a touch.
-Some parallel compression to bring out punch.
-Some very short verb added to blend.

OHs
- Added some analog distortion to make it brighter.
-Parallel compression to bring up the detail.

Drum Bus:
-Limiter to catch transients.

Bass:
-Compression to even it out
-A bit of EQ to make it more distinct.

Guitars:
- Added distortion to add some higher harmonic content to the warm guitar tracks.
-Compressor to keep the guitars from getting to loud.
-Parallel compression to bring up the low level detail.
-EQ to reduce some mud.

Vox:
- Added distortion to add some more harmonics.
-EQ to reduce mud and increase clarity.
-Compressor to control the loud stuff.
- Parallel compression to bring up the low level detail.
- Short IR verb to push the vocals back a tiny bit.

Master Bus: No processing.

Thanks for listening!

My take on this mix

WAV: https://www.dropbox.com/s/3pjhwiig8cnhm ... g.wav?dl=0
MP3: https://www.dropbox.com/s/jle94t94jcs48 ... g.mp3?dl=0

I tried to get most out of the drums without samples, carving out a lot and make it more modern punk.
That said; the drumsound I was going for was "oldschool basement recording", with little more top and spark.
Used all mics, except snare under.

Used main one room with a BXroom plugin on every instrument to taste.

Vocals; a lot of dobling and slap, and some agressive compression (slate 1176 and distressor)

The main thing was not to make this song modern and radiofriendly, but more to enhance what was alredy there.

Fun project!

-Thomas

Hi,

Well. Punk. I kept the drums as is. Glad the microphones in use and the XY setup have been mentioned. Most of the EQ's were just used to match the microphones. That is, high-shelf to boost the frequencies the microphones are not good at. Applied some tape saturation to the drum bus. Wanted to get a dirty punk sound. Turned out it got a bit too modern. That's up to the mastering engineer, as you asked to not do any mastering. If I would do the mastering, I would boost the lower frequencies using a low-shelf filter and would try to get it sound way more dirty maybe by using a real tube processor and things like that. From a spectrum and dynamic point of view, everything should be possible.

Danny & the Deadbeats - Margarita - Bullshit Bastard.mp3
Danny & the Deadbeats - Margarita - Bullshit Bastard.wav


Best regards.

Hi,

This is my first entry and this was a fun song to work on. Thank you for making it available for the challenge.

I mainly did some EQ and compression using a channel strip plugin on the tracks. I ran the Bass through an AMP to spice it up a bit. Drum samples have not been used as the recorded ones seemed to work fine for me for this song and genre.
A bit of EQ, filtering and slight bus compression was done on the master bus.

MP3:
https://www.dropbox.com/s/rp1t0cwfxxqkq ... x.mp3?dl=0

WAV:
https://www.dropbox.com/s/to6oacoryuvuo ... x.wav?dl=0

Well that was fun .I will say the tuning and timing was driving me a little crazy tho. I used all the tracks ,no samples added.
I tried ,but i don't think i hit the mark

Mix notes: Mixed in Reaper.

Drums-Tone shaping, compression, saturation, Parallel track kic and snare gated the snare

bass- eqing ,nova, Kramer tape on 2nd bass track compression limiter

Guitars- Parallel track, tone shaping, api 2500 low and hi cut

vocals-gain reduction plug-in lo- fi for verse normal for chorus.

Fx- little verb and delay

Did a lot of automation on different tracks.

Tracks:

Wave- https://soundcloud.com/jerze-1/mc046-ri ... a-jerzewav

Mp3- https://soundcloud.com/jerze-1/mc046-ri ... a-jerzemp3

I am new to this site but not new to mixing music. I had fun reliving the Adat days so my approach was to mix like a old console project. My plugin selection was a analog approach. I used Abby Road console strips on drums and bass and 1176's on guitars and SSL buss compressors and DBX160's for drum and bass glue. My approach for this Punk track was Fat Drums and Ripping in your face guitars. I decided to keep the vocals raw and loose like what you would here from some punk bands back in the day. There was no re-amping of any kind on both guitar and bass just vintage style processing. Thanks for listening.

https://www.dropbox.com/s/qz0vfi84chgy3 ... e.wav?dl=0

This is my first time doing one of these. I had a lot of fun!

-DRUMS-
Kick (Mic track mixed with provided sample)
- ReaEQ boosting some attack and bottom end
- CLA-76 lightly compressing for evenness
Snare (top and bottom mics, no sample)
- ReaEQ for more top end
- CLA-76 and ClipShifter for more body and punch
Overheads
- Waves DeEsser
- ReaEQ taking out some mids
- ReaComp to clamp down on the snare hits

All three drum tracks are sent to a parallel Distortion (CamelCrusher) and a Parallel Compression (CLA-76) for added beef
Tom tracks were not used

-Bass-
- Used TSE BOD and CamelCrusher for Distortion
- ReaEQ for more mid range presence

-Guitars-
- Ambeint Mic was not used
- All of the guitars have some very light compression and small eq boosts in different spots.
- "Guitar Extra" was muted until the bridge

-Vocals-
- Decent Amount of compression on each track, "Chris Verse Vox" with the most
-ReaEQ for different presence boosts on each track

All vocals, snare, and overheads are sent to reverb. Automated in some light delay on Vocal bus in bridge. Guitars and Bass are dry. Vocals, guitars, and bass are being sent to a single parallel compression bus for added body. Mix bus only has very light EQ (small boost at 80 Hz and small cut at 500 Hz).

https://www.dropbox.com/s/lrjtrhn3kbqwe ... n.mp3?dl=0

https://www.dropbox.com/s/ql4x4qadkj3ka ... n.wav?dl=0

Enjoy
https://drive.google.com/file/d/1roA20K ... sp=sharing
https://drive.google.com/file/d/1iTLBzx ... sp=sharing

Here's my submission

https://www.dropbox.com/s/q5ug0cp4lfeu9 ... n.mp3?dl=0
https://www.dropbox.com/s/q5ug0cp4lfeu9 ... n.mp3?dl=0

I used Mclusy and The Clash as reference tracks. VTM and VMR on most tracks, no 2-buss processing.

Drums: I used some EQ and volume automation. JST Transify on the overheads with a deesser to tame the cymbals. Some parallel compression and Verbsuite for reverb.

Bass: Slate and Soundtoys saturation blended back in with the original

Guitars: I used all the guitar tracks, panning the POD tracks left and right with the mic tracks. Volume automation, EQ and Trackspacer sidechained to the vocals

Vocals: FGStress on most the tracks with a deesser, EQ mostly through VMR and BX V3. Saturation on chorus and background vocals. I used Echoboy and Microshift on the Oohs track with no reverb.

Hope you like it!