Mix Challenge

Hi,


Here's the mix:

https://drive.google.com/file/d/1hrK8Yx ... sp=sharing


DAW: Ableton Live

Kick: layred, stock comp and eq, little bit of short reverb
Snare: layered, little bit of stock comp and eq
Bass: layered, stock eq
Percussions and Rooms: all to one group, balanced and automated
Guitars : all to one group, little bit of stock Eq, automated, little bit of slap delay
Vocals: subbed into two groups, Lead and Back, stock comp and eq, little bit of automation


Mixbus:
VTM Brit-N, UAD-Pultec, VTM

Hi everyone,

I did the mix, cleaning mostly, I didn't follow any lead, just mix as I think will be good for the song, fun anyway!

https://www.dropbox.com/s/wg3gryg1z9ptt ... 0.wav?dl=0

See you...

Sam

Hi,

this is my mix: https://luebbke.me:5001/d/f/581068778991820841

I think there are a lot of good mixes here
Respect!

Peter

This is my first mix-challenge here. Thanks to Mister Fox and Los_ady!

>> My submission (48kHz / 24bit *.wav) <<

Screenshot >> lead vocal - volume-automation envelopes << (the upper one is post-FX, the black one is my post-FX de-essing and the lower one is pre-FX)

Since a few years I've some clear mixing-preferences and a preferred sonic structure in general. But my feel always goes in favor of the emotional and musical impact of the particular song.

'Special' effects like multiband-compressor, transient-designer, stereo-imager and sidechain-compression, I only use in exceptional cases ...
As nearly always, I didn't use any of the named effects in this mix.
Instead I do every step very careful and a lot of automation. And I use distortion and subtle saturation by miscellaneous effects, of course.
This time, also de-essing manually with one of three volume-automation envelopes on the lead vocal track. And I decided to tame the sporadic harshness on the lead vocal at 4k with a narrow dynamic EQ band.
Apart from that I only used standard (primarily analog style) EQs, not even linear-phase EQs, in the whole mix.

I didn't use the guitar DI-tracks and they neither have additional reverb nor delay, because there was enough room and space on three of the each five guitar-tracks for my taste.
The 'dirty' guitar is a key point in this mix, I think. Initially I mixed it audible and with a fundamental role in the mix. Then I found out that it brought a lot of muddiness into the mix, but especially disturbs the feel of the song a little bit. But completely without it the mix sounded too clean and lifeless to me. So finally I mixed it very far in the background - barely hearable, but still there.
This decision is unusual for me, because I like volume-balanced mixes.

I used the bass DI-track instead of the bass-mics. Apart from miscellaneous treatments to the dynamic range and the frequency spectrum, it basically goes through a virtual miced amp following a chorus and is sent to two delays.

Four drums tracks didn't make into my final mix. But I used four of the five room-tracks and compressed them together. Otherwise I rarely compressed the drums and only added some parallel plate reverb to the kick, snare and toms.
I resolved some phase-issues and panned the drums more narrow than usual for me.

On the masterbus I had my standard mixbus-compression with an average 2dB gainreduction (threshold-automation), a mastertape-emulation and volume-automation. That's it.
I rendered the mix with dither to -17.9 LUFS Integrated and -3.0 dBTP.

It was fun. Hope you'll enjoy my mix. Cheers!

First, AWESOME song. I totally connected with this as it vibes with a lot of the stuff I've listened to over the years.
Knew exactly where to take it sound-wise.

Used only 18 of the source tracks
Mixed in Reaper using PrimeEQ, CRTIV Reverb 2, ReaComp, ReaGate, TAL-Chorus-LX
NO bus processing or mastering
Normalized to -16 LUFS

Anyway, here it is. Hope you like it.
https://drive.google.com/file/d/1nfYh_3bi49OSQwfJVWLmphm5XBJFOW0u/view?usp=sharing

It’s been a long time since I’ve participated in a challenge here, but here’s my mix. I will try to be very detailed, the numbers tend to be approximate, especially when I refer to the frequency. Hope you like it.

https://drive.google.com/file/d/1sx8nm9 ... sp=sharing


Firstly, I deleted the guitar's DI tracks and the bass's AMP and checked the drum phases and between the guitar microphones.

I listened to the references and the original mix, I tried to take a few points from each and add my vision. All equalization was done in the SSL Native Channel plugin

DRUMS

KICK: It was a little tricky to get to the sound I would like, cutting the mix a little but without sounding hard. Unfortunately it still got a little hard. I attenuated about 20dB at 400Hz, added approximately 15dB at 10Khz and 80Hz, shelf. I used the compression of the channel strip itself, fast attack and release.

SNARE: I used similar processing on the two snare channels, about 20dB shelf at around 5Khz and 15dB shelf at 160hz. Fast ssl compression, fast attack and release, PK.

TONS: I removed +/- 20dB around 600hz, added a little bit at 100Hz Shelf. SSL compression, normal attack, release in about 1s.

OVERHEADS: On this channel, there were OH, HH and crash overdub tracks. I added a little bit at 5Khz shelf and compressed it with SSL compressor, fast attack, fast release, PK.

ROOM: Just Compressed with SSL, fast attack and release.

With the exception of the kick, all channels were sent for a personal reverb, it is a mix of real rooms with some digital reverbs (RMX16, 480L, M7 and eventide 2016) is somewhat aggressive, but dosing sounds good. I have to go with several configurations, in this case I used it with 1.5s of duration, approximately.


BASS: Approximately + 10dB at 60Hz bell and + 20dB at 1.5Khz shelf. SSL compression, fast attack, release .4. In some places I use a chrous from the eventide H3000 Factory, very lightly.

GUITARS

I abused delays, I wanted to create a more abstract atmosphere. A combination of several delays on the H3000, two PSP42 configured at approximately 400ms, Arturia Tape 201, slap delay made with the Cubase mono delay and a Micropitchshift Slap on the H3000. Except for dirty and heavy guitars, all were sent to all of these delays, in addition to a Thin Plate from the LX480.

INTRO: I filtered the sub around 80Hz, I added a little 160Hz bell and something like 20dBem 8KHz shelf.

VERSE: Practically the same as the intro guitar, but I removed about 10dB at 300Hz and compressed it with SSL fast attack, fast release.

ARP: 22dB (100%) at 5KHz Shelf, SSL compressor.

DIRTY: This was a little more complicated to fit, I filtered at 100Hz, reduced approximately 10dB at 300Hz, added 15dB at 4KHz and another 15 at 8KHz shelf. SSL compression.

HEAVY: Approximately 9dB on 8KHz shelf and SSL compression.

I used a lot of automation both on guitars and on effects.

VOCALS: Filtered at 160Hz, took something like 10dB on 150Hz shelf and 350Hz, added something like 10dB on 4Khz and 15dB on 8KHz shelf, compressed with Overloud Comp-76 rev A, fast attack and release, compressing 10-15dB on the VU. Some wheezing became strong, so I added an E2 eiosis at the beginning of the chain. I used a plate on the LX480, the cuabase slap delay, the two PSP42 and eventually the H3000 slap.

HARMONY: Basically the same configuration as the main vocal, but I compressed it with Overloud Comp-LA.

MIX BUS: SSL Native Bus Compressor, Attack 10ms, Automatic Release, ratio 4.

Hello,

Cool rock song, a pleasure to mix.


I used an hybrid setup. Hardware is eq, compression and transient design, plugins are eq, compression and time FX.

Hybrid eq and compression everywhere (lot of bus groups), hardware 2bus compression and Eq.

Vocals are automated with delays and reverb sends.

Delays and reverbs sends on some guitar busses too.

I chose not to use all the drums tracks to have a more focused result.



https://www.dropbox.com/s/woglgudpbogh2 ... n.wav?dl=0

https://www.dropbox.com/s/7y7838xrt9qby ... n.mp3?dl=0

Hi, here you are my mix:

https://www.dropbox.com/s/cz9rqifm7o6r4 ... a.wav?dl=0

https://www.dropbox.com/s/cz9rqifm7o6r4 ... a.wav?dl=0




I really enjoyed mixing this song, tons of tracks and possibilities(I used all of them), so I decided to work separated track by track and then use groups and busses.

For the tracks I worked with plug ins, some of my personal tips for this kind of music:

Kick C1:

I Used this mic for the Low end and worked only with plug ins:

Submarine(by Waves): Mixed 65% Dry - 35% Wet
SSL E channel(by waves): for gain Control and Eq(-6 db in the Highs) and Phase Inverted
Distressor(UA): Fast Attack, Fast Release 100% comp

Kick AKG:

I Used This Mic for the attack and worked only with plug ins:

SSL E channel: low freq Flat, HF +6db 6khz, +6db 3.36 khz
Neve 33609 compressor(UA): Limit and compress "In"

For the Snare my main tip:

Torque: -95 Cents
Berzerk Distorsion
Compression

1 Auxiliar for Reverb Room my Reverb on the drums is TC electronics TC 8210(Plug in with hardware control)

Drums Bus: Hardware: Drawmer 1978 with tone shaping(+3 8khz + 5 100hz) slow attack, fast release.
Software: Ozone 9: mostly used the Imager to check the polar level and pre mastering.


Bass:

For the effect that the artist was looking for, I used BRIGADE Chorus(Universal Audio) Inserted in the SM57 mic, -6 db in the LF same mic.

The Low end on the Bass is coming from the AKG 112, I used Submarine(only 10% Wet 60 - 102HZ) and Amp Simulation for the D.I.

Guitars:

I Used All the tracks, I divided them in 5 different Groups and sent the groups(Intro, Verse, Arp, Out, Full) to one master Bus:

I Used Hardware for the Stereo Channels: SSl Alpha Channel with the VHD at 75%

I Used Hardware for the Main Guitar Bus: Avalon 747sp Side chain compression in the HF, and contour LF.
TIP: I Used a plug in (Spread by DJSwivel) in some of the Guitar Tracks

Vocals:
I Used Hardware for the main Vocal: Neve Portico 5012
Little bit of pitch correction in Melodyne
Vocal Enhancer by Plug in alliance
2 Aux for Effects: 1st Aux: Dual Delay(Hardware TC Electronics M One XL) with H-reverb(Plug in) in cascade
2nd Aux: Tap Delay(H-Delay by Waves)

In my Main Mix Bus I Used: .- Tape Simulation: Studer A800 By UA
.- F6 RTA by Waves
.- 2 Distressors(Hardware) EL8-X(Inserted)
.- Ozone 9 By Izotope (Always Checking the polar level of the mix, and set the maximizer al -18 LUFS)

The Bounce is in 48Khz 24 bit


Thank you so much for the opportunity, I hope you enjoy my mix!!!

Jhander Orihuela

Hello to all you fellow Mix Challengers!

Here's my submission to this months challenge

https://drive.google.com/file/d/157hBu5 ... sp=sharing

First of all just want to say great challenge this month. Big thank you to Cheap Flights and to Ady for making this happen, had a lot of fun mixing this one.

For this mix, I felt I wanted it to have a modern sound, as per the Reference tracks, but also thought it could be cool if i introduced a 90's "shoegazey" type of sound (My Bloody Valentine etc), so mixing those styles was my plan. Big Drums, Big Vocals, Dreamy Guitars, Wandering Bass...

Drums
All mics were first put into phase with each other. Kicks were cleaned up with the Pro Q3, then added some 60Hz thump with UAD pultec, bussed together and compressed with the Waves API2500 (This Eq-Compression chain was done pretty much across the elements of the kit)
Snare was High passed at 90hz, boosted at 200hz and 8k for smack. Snare was sent to a H-Verb with a medium room setting.
Other than that, everything else High / Passed and sent to my Drum Bus. Drum Bus I scooped some 400Hz and compressed using the 2500.

Bass
Bass DI was copied and filtered each one, Low passing at 250hz on one for just low end, and high passed on the second one for just the mids. These were then sent to a bus. Low Bass was treated with the RBass, UA 1176 and then scooped at 60Hz to make room for the kick, and boosted at 100hz for the bloom. The mid bass was boosted at 3k for attack. On the bass bus, UA 1176, Pultec boosting a little more 100 and 3k, into a Decapitator for attitude, and finally into the MV2 for levelling.

For the bass chorus, the bass amp track was sent Pre-fader into the Acon Multiplyer, transposed up an octave and blended into the Bass Bus

Guitars
For the guitars, I first removed the ones i would not use from the track, and bussed the different parts into their own groups. I like the tone of the recorded guitars so didnt do a lot in the way of EQ and compression, mainly just high passing. One of the guitar parts (Dirty Guitar), I did reamp the DI through the UA Marshall Plexi to get the tone i was going for.
As for the Reverb on the guitars, I used a mono H-Verb panned opposite of each different guitar to give width to the mix

Vocals
Vocals I really wanted to be the modern part of the song, and I wanted them up front. My main vocal went into the Waves R-Vox, then into the Pro EQ3 for subtractive Eq (high pass and removal of some low mids). From there into the UA Pultec to boost some 4k for presence and 16k for Air. The vocal is balanced using an 1176 into a LA-2A, each with about 3dB gain reduction.

The vocal is sent to 2 Reverbs and 1 Delay. The first Reverb is a mono H-Verb, panned in the centre to anchor it in place. The second Reverb is a Stereo H-Verb with a longer tail that I Automated to become bigger and wider in the more cluttered part of the mix. The Delay is the UA Precision Reflection Engine set to the Ping Pong setting with a little modulation. This delay setting is fantastic for adding "girth" to the vocal and giving it more texture. All the FX are automated throughout the song as the energy builds and falls.

The Harmonies were processed in a Bus. The were High Passed, Low passed and then into a Pultec with a wide 16k boost. For the reverb, again each individual voice got a mono verb panned opposite for width. They also got the 1176 into LA-2A treatment.


Mix Bus processing was a simple Pultec boosting a small amount of 60hz for oomph and 12kHz for fizz, going into the API 2500 with about 2-3dB of gain reduction to glue, and then into another Pultec doing a very wide boost at 16kHz for Air

Anyway guys hope you like the mix, and listening to all the other mixes, i seem to be in very good company!

All the best
Ciarán O'Shea

I mixed this in logic pro, on a 2009 mac mini... monitored through an apogee duet2>alesis RA100 amp, and KRK st6 passive speakers.. Long process for me..
1. I went through all the tracks an applied EQ to my taste, and then cleaned up the drums by deleting the information between hits on tracks that were close mic-ed. Then I used stock compressors, and noise gates to get rid of some of the bleed on the drum channel..
2. for the drums I initially started with the OH mics.. I spread them at about 33 clicks per side, and then mixed the other drums in.. then I balanced the room mic levels to accommodate what tones I wanted to be the most dominant.. Then I added sample layers to the kick, snare, and toms.. I used additional channels with tone generators, and side chained gates to create the sub of the kick, a snare tail, and even to give the toms more sustain.. I used a tuner to tell me what notes the drums were tuned(very well) to, and selected those frequencies on a tone generator for each of the toms, and set a slow attack to avoid the hit, and the release to give the sound s light fade out.. for the snare I used white noise, and EQed the white noise like the snare, and set a moderate attack just past the hit, and a long release time to allow it to roll out like one of the big 80's snares..
3 Bass- I used parallel distortion/limiting on an aux to shape the tone then mixed the 2 together... I used a gate keyed to the kick drum to create what I call a bass push mixed under the other bass to accent the kick drum.. and add bass in a short burst to load the frequencies a little...
4. guitars I liked the room tracks the best of each grouping.. I used that as a basis for how to set the levels of the other 4 mics for the tone of the entire part.. I used the DI track on one of the sets to re-amp in logics amp designer.. I put logics pedal board before the amp, and set up an auto wha to try to simulate a sitar..
5. Lead vocal.. tuned lightly, and de-essed.. then compression.. after that I used an effect I came across as a freebie, or beta.. it's been at least 4-5 years.. called proximity.. It effects an instrument in a calculated way to manipulate the proximity effect on a mic.. I also used parallel distortion, EQ, and hard limiting on an aux to mix with the vocal..
6. Compressed each back ground vocal, and panned the parts where I wanted them.. deleted the spaces between, and got rid of any breath nois that was intruding on the track..
7. lightly automated volumes of some of the tracks, and then bounced out the groups as stems.. I bounced the room mics, kicks, snares, toms, overhead+hhats+ride, basses, guitar groups, backing vocals, and lead vocals as stems reducing my track count to 18 stereo tracks..
8. Dropped the stems in a new project.. EQ each stem notching out harsh frequencies..
9. While monitoring the sides only I added a second layer of EQ plugs focusing on the side information.. and made sure that I was removing lower frequencies from the sides, and keeping the high end from getting too harsh..
10. while monitoring in mono Added another row of EQ that I used for the mid only information.. with this set of EQ's I focused on removing some of the highs from things I wanted to live more to the edge of the stereo field, and bringing up low, and mid information in things that needed to be punchy.. I also use the low pass filter to place my instruments in the vertical spectrum figuratively..
Summation-I set up mono verb for the lead vocal.. A reverb for the drums, I also set up a mono reverb, pitch plug to detune around 15cents and hi-passed with an EQ down to around 2k to make it a dark hole that sort of simulated the doppler effect.. and one big stereo reverb slightly dark with the L/R flipped, and lightly detuned with a pitch plug.. an echo, and a long delay.. the signal paths from the echo/delay hit the big reverb first, andd the big reverb feeds into the dark mono reverb.. the other reverbs also feed into the dark reverb next.. For the BGV's I sent those to 2 seperate aux's, and the 2nd aux I flipped the L/R, used a pitch plug to detune, and went into stereo sample delays to create a second group of voices.. then set up another aux fed by the BGV's that had distortion, and vibrato added.. these were sent to the big reverb partially... I parallel compressed the toms on an additional aux, and made another aux for the snare, and added distortion, and a short gate to fatten up the snare more.. This is a long spill.. sorry, but if you ask specifically I'll be glad to go into detail what I did for which parts.. there are a lot of automated sends going to the effects, and pan/level automation hope you enjoy..

https://www.dropbox.com/s/vakaqnoam8kh9 ... x.wav?dl=0