Mix Challenge

It is the 22nd July 2018, 4:45am GMT+2/CEST - the first Mix Round has officially ended

If I didn't miscount, we have 42 entries this month! That's an additional 9 participants more than last month (33) and also 26 participant more than 2017 (16).

A very warm welcome to all new participants - I think you found is via the Summer Promo run (Sonic State, KVR Audio, Rekkerd, BPB, etc).

There has been been 1 submission after the deadline (else, it would be 43 entries! Sorry Mork!)
I've had to give out 2 warnings due to a rule violations
There are a handful of users that did not provide minimal documentation or just an MP3 (e.g. Franz, GpByPass, bjputnam, thomasberg, Kellox,)
We might have a couple of tracks that is already fully mastered
We have one track that can not be downloaded and is not like the source material (soorous)

Keep in mind, this could lead to a disqualification of your entry!



Please check all if your links again, make them downloadable(!). Those that uploaded MP3s only, please take note: providing a FLAC (on low bandwidth)/WAV (on DSL and higher) file is mandatory now. Those of you that only uploaded a WAV, a MP3 version would be nice. Please also update your posts with minimal documentation for others to learn from (see Rules & Guidelines).


I now open the field for everyone to give each other feedback (highly encouraged). This will be independent to the client feedback however.


Please watch this spot for the client feedback and Mix Round 2 participant announcement.

Good luck to all participants.






The Songwriting Competition 11 (SWC11) is still in full swing.
The deadline is 24th July 2018, 11:59pm GMT+2/CEST - so far there have been 3 entries - let's try to exceed 7. Spread the word!

soorous wrote: ↑

Fri Jul 20, 2018 17:06 CEST

Here is my take on this
https://soundcloud.com/sonorous/mc045-r ... ix/s-N52aN

Please make this link downloadable!

Rancour wrote: ↑

Fri Jul 20, 2018 19:24 CEST

First time with Mix Challenge, hope I did the SoundCloud thing right.
Here's my song at
SoundCloud.com/user-223794931/MC045_-_Rahel_-_ICH BIN ES NICHT_-_NICK RANCOUR

Same here! I can't even access this link!

If you provide downloadable links before I post the feedback for Mixround 1, I will judge them also, but I will give Mister Fox the power of judging over disqualification.



fajebru

The Rules and Guidelines are known.

If the material:

• is not downloadable
• has been recut
• is not provided in the minimum required format (WAV or FLAC for low internet bandwidth users)
• is not according to "loudness recommendations (mixdown)" (as in, drastically exceeding -15dB RMS avg, and therefore being "mastered")

Then that will result in a disqualification.

Mister Fox wrote: ↑

Sun Jul 22, 2018 20:01 CEST

The Rules and Guidelines are known.

If the material:

• is not downloadable
• has been recut
• is not provided in the minimum required format (WAV or FLAC for low internet bandwidth users)
• is not according to "loudness recommendations (mixdown)" (as in, drastically exceeding -15dB RMS avg, and therefore being "mastered")

Then that will result in a disqualification.

But in the rules are written: ideally, the final mix shall be anywhere within the the following range: -21dB RMS realtime to -15dB RMS realtime on average, while the maximum digital signal strength shall ideally not exceed -1dBFS.

My mix has more than - 15 db RMS but I did not master it. That happens because of many compression stages on almost every single track and groups. Therefore I surpassed the - 15 dB mark without doing some loudness adjustments or mastering.

Does the track clip or did you use a compressor/limiter array to keep the project within boundaries? (summing bus)

I just did a quick check of your track - it sounds fairly "compressed"/mastered as if it came from the radio. So this gives me the impression, that there is more going on than just "many compression stages". It does not clip (-0,97dBTP), neither are transients overly squashed while zooming in on the waveform. But the RMS value is -12dB RMS avg (-8dB RMS max)...

So not only is it hotter than what the rules recommend to go for (for a mix-down, not a master!), but this also feels like a "pre-master".


This is however a highly subjective topic, as this can be an artistic decision.
Ultimately, the client decides about your entry - I'm just here to remind the participants of the rules.

OctopusOnFire wrote: ↑

Sun Jul 22, 2018 00:20 CEST

Confess, you just didn't want me to shamelessly copy your mix!

Haha, you got me! I will never ever submit my stuff before deadline again so you got no chance to copycat!
No, to be honest I would be quite flattered, but what really happened was that my girlfriend is gone for a week, so without her guidance I endend up drinking beer and buying some fabfilter (which is the natural thing to do in that situation) That of course led to too much toying around... you know how it is.

Cheers
Mork

yes, hello to all, I had effectively forgotten my "post" explanation for the mix of the title "Ich bin es nicht". Before the technical details, I would like to clarify my point of view on the original mix: for me and for French-speaking friends who understand the German language, at the first listening, parts of the text not really understandable and this is where arises the question of what really represents this title: is it a text on which we make musical arrangements or a music on which we "stick" a text ??
These two possibilities give a completely opposite mixing orientation.
This is where the concept of musical culture comes from one country to another: we could philosophize hours (why not if you feel like it) but tighten up the subject: in France (hey yes, there is among you who will have it can be guessed especially if they listened to my mix), the texts are very important (we have what we can call artists with texts) and must be absolutely comprehensible in all the formats of listening. So when I came back to my mix, I first realized, 'the musical articulation' AROUND the text: the voice must convey a sort of 'cry of the heart, provoke emotion and reach a certain paroxism at the end "That's the difference with all the mixes on offer. I remember mainly (I'll come back later) the voice really mixed to low, flat music without relief, sounds very close to the original. So for me (but I'm not the judge) a minor general interest: we can yet create something else while remaining in the original idea ....

the technique: all tracks imported in "Reaper"
- singing: level variation much too important in the original track, given a constant "audible" level. Lightweight EQ to give presence
- the choirs to mix in a subgroup with EQ
- drums: punch but also presence (EQ), OH difficult to use
- the guitars: very massive use of EQ to give them a cleaner and rounder sound
- bass: as it is (DI)

note: I am not at all in favor of the "parralel compression": it would rather tendence to "linearise" the sound, so we hear everything but it is flat contrary to what we think we hear.
Let's not forget that all these "post" must be constructive and that it is interesting to devellop ideas that, necessarily, will not please everyone.

wear well all
Franz

Franz wrote: ↑

Sun Jul 22, 2018 21:12 CEST

for me and for French-speaking friends who understand the German language, at the first listening, parts of the text not really understandable and this is where arises the question of what really represents this title: is it a text on which we make musical arrangements or a music on which we "stick" a text ??
These two possibilities give a completely opposite mixing orientation.

I do not think that this has to be the opposite mixing orientation. If anything, this is a production decision. I think that in both cases ideally the lyrics are the most important in the song and should be understandable at all times in the song. No matter how good the lyrics are, in which country/culture we live or genre we are.

I saw the song in the rock genre. Each genre has a different sound aesthetic, which determines instruments, dynamic range and tempo. Compare classical, pop/rock, hip-hop, EDM. For me, the art of mixing is to get the best out of the tracks and to support a certain sound aesthetic from the production. While mastering is responsible for the requirements of the different formats such as CD, radio, TV etc..

In general, an understandable lyrics and emotions must be taken into account during production and recording. Missing emotions, lisp, missing consonants and swallowed words are difficult or impossible to repair in the mix. You should also avoid background noise, clipping and a wrong microphone when recording. If the artist presents the emotions well, pronounces well and the recording is good, you will have no difficulty understanding the emotions and lyrics in the song no matter how you mix it (flat or dynamic). Of course, this is easier said than done and requires some experience. That is only my general objection and has no relation to these vocal tracks.

cheers

Al

You folks are aware, that there was a translation bundled, and I also mentioned several(!) possible references in the second post?

If you struggled with the vocals, this should have given you a better insight.

Hello,

I am German, so a native speaker. All word in all song parts are well pronounced and to understand without any problem.
And in description was said, that the vox and the drums are the important things. So it is clear, to set the mix around the vox, nothing else.