Mix Challenge

Hello everyone,
The very good song actually, as usual, I started with editing backing vocal and main vocal nothing drastic just a very tiny bit of time shifting here and there. the drums in this song are a big deal in my view so I treated a bit differentially this time.
Drums: Eq and compression ,parallels compression and saturation ,reverb as well .
Guitars: Eq and very tiny compression, reverb.
Vocal: there is a low-end noise so I filtered out, used compression as well, reverb, delay.
BGV: I used Eq, compression, and reverb.

My submission.
MC055_Rahel_Kann Schon Sein_Wizzo.wav
MC055_Rahel_Kann Schon Sein_Wizzo.mp3

-Integrated -15 LUFS, TP Max -4dBTP (By NUGEN), any comments or feedback are most welcome.

Cheers!

What's up everyone!

Thank you Mister Fox for another great mix challenge.

Here's my submission:

WAV: https://www.dropbox.com/s/2nofb7rnnwmb5 ... e.wav?dl=0

MP3: https://www.dropbox.com/s/wzuas9ncqmlzt ... e.mp3?dl=0

Good luck to you all. Cheers!

Hi everyone, here is my version:

https://www.dropbox.com/s/cgean6nbm59lk ... g.wav?dl=0

https://www.dropbox.com/s/hlz9df6biadn7 ... g.mp3?dl=0

I decided to reamp all DI guitar tracks (including bass) through Kemper.
There is Slate virtual console used on every track.
Vocals got quite a lot eq correction (some parts edited manually),
these seemed having about 4...5KHz too much. Then the main vocal compressed by
Softube CL1B and all vocals grouped compressed with RVox , also
added Pultec EQ and Waves L1 limiter. Vocal fx (sends) are
UAD Ocean Way room and SoundToys Echoboy.
The drums group is having Acustica Audio Honey compressor, also eq.
About individual drum tracks the most important thing is the kick has
UAD Studer A800 tape distortion and room tracks having a little bit SKNote c165a
compression.
Bass - moderately UAD A800 tape, UAD UA1176E compressor, Waves L1 limiter, eq.
Soothe VST plugin is used in some individual tracks (HH, OH, Guitars) for
elimination some unwanted coloration.
Automation also used, mostly in vocals and guitars.
There is slightly UAD EMT250 fx sends in guitar tracks to achieve some ambience.
There are Acustica Audio Aquamarine compressor and Ivory EQ on the master bus.

Hi All

Mp3
Wav

ScreenShots

Here is my entrance:
I use a lot of SSL 4000 E and Q3 Fabfilter. Some compression on everything. I do reamp guitars with Fender Blues Junior and Marshall Plexi Classic. On master Bus i used The Glue Comp to glue a bit mix

If you have any questions, I will be happy to answer them.

Hi,

Thanks a lot for putting up a great song for all of us to mix. We definitely enjoyed mixing this song and Rahel you have a great voice.

We are a mixing engineer duo from Bangalore, India. We own a production studio where this song has been mixed.

The mixing is hybrid, processing in the box AND on the mixing board (GL3300). The below link to the video shows you our workflow.

Here is our submission:

Wav (24 Bit/96 kHz):

https://drive.google.com/open?id=1O9bSV ... eD1twlQEUD

Mp3:

https://drive.google.com/open?id=1Tm9JA ... qrZOUJlISw

Documentation:

Video:

We have created a video that shows in detail how we have mixed the song, please go through the video to understand our mixing approach.

https://drive.google.com/open?id=17Kbbx ... jyqIsp4mqH


Document:

https://drive.google.com/open?id=1b1yVf ... XBtAKEMy40

May the best mix win !!! All the best to all the fellow participants.

Thanks to MixChallenge team for organizing this mixing challenge.

Hey there folks!

Here you can find my submission:

https://drive.google.com/open?id=1nuG7b ... cEYgEfZlUY

For this mix it might be interesting to elaborate on the process I went through before diving into the actual processing.
I started by listening to the rough and made some notes about which things to change or keep. Then I made a playlist of the reference songs mentioned. Ein Neuer Tag - Juli seemed like the most fitting reference for this song in terms of sonics. I made a mix and on each revision I pushed it a bit more towards Juli. A few day later I listened to an interview with Shawn Everett (on of my favourite mixers) and realized that I didn’t really like my mix; I wasn’t my taste. So I started from scratch with a new approach. Luckily I had made a Save As with all the files and routing in place.

The Juli approach I would describe as: punchy, clean and controlled. Now I’m going for: Fat, organic and adventurous.
From the start I knew I wanted to enhance the half-time feel of the chorus so that it sounds like it’s coming at you. This is achieved primarily with the guitar processing.

Drums:
Kick: sub en kick out (-12dB) bussed to Devil-Loc with quite some crunch. I liked the sustain so no gate.
Snare: top: de-bleeder > Sansamp PSA-1: pretty crunchy and middy. Top with bottom bussed to 2 auxes, 1: Devil-Loc for attack 2: 1176LN for sustain
Toms: > Tombuss: Filterfreak LPF envelope filter > sansamp > Devil-Loc > TDR Nova (173Hz -4dB, attack boost)
OH st, Room mono, Room St (which is actually a mono singal with the polarity flipped on one side) are unprocessed. I used the the OH st to make a swell towards the last chorus.

DrumBuss: Hi-Shelf boost and notched out some 944Hz which was resonating in multiple mics.

Bass:
Bass DI > Sansamp for mid growl distortion
Bas mic > Decapitator E punish drive 9 for some high synth-like distortion > Little Alterboy sneaking in a lower octave.

Guitar:
All amped guitars bussed to 2 stereo auxes:
1 (Clean): 1.3dB boost @ 3.5kHz
2 (Swell): Compression with fast attack and slow release side-chained by the dry Kick Sub to create a EDM like swelling effect. Different release times for pre-chorus and chorus. Before this compression there is a Decapitator P, so that the guitars do not only become louder after the kick, but also brighter/more aggressive.

Vocals:
Bit of parallel comp with 1176 rev A.
on the master vocal bus: DeEsser, La2a, TDR Nova: tiny mid scoop, and dynamic hi-shelf reduction. > subtle Devil-Loc (mix 30%)

What sets it apart is that the vocal verb (EMT 140) is being side-chain compressed by the kick and has some noise on it (Lo-Fi pro-tool plugin). This side chaining is also the case for the thin quarter note echo, which appears mostly in the pre-choruses.

Rearbus: Everything but the drums and bass is being routed parallel to this bus which has a 1176 on it. Acting as a subtle auto-leveler.

Master: H-comp 2:1 ratio, attack 26ms. 2dB GR at most.

Hi,

i really like this Band, so i decided to step in again


WAV: https://www.dropbox.com/s/gg2cp1dhurp6p ... c.wav?dl=0
MP3: https://www.dropbox.com/s/k0i8aue95pqjm ... c.mp3?dl=0


Drums:
nothing really special, was a bit tricky though to combine all the tracks to a drum track in an organic fashion because the quite heavy bleed on individual tracks made it necessary to introduce some Gating/Transient-shaping... Console Emulations on all tracks, Main Drum Track goes through a SSL Drum Bus Comp and a Tape-simulation to shovel off the transients naturally and glue the whole Bus together. All tracks are phase-aligned first of course.

Bass:
Console Emulation with a little saturation, Eq - reduce ~150Hz and lifting all under 90Hz and above 7Khz, to give the drums more room i used a side-chain ducking-tool which pushes 60Hz down when Kick kicks in.

Guitars:
sounded a bit thin and bright for my taste, so i added 1 DI track very subtle in the center with a more-mid-sounding amp-sim. this should also help with mono-compatibility in general. The GIT5 Track i accented a bit more with the use of a delay and a plate to give it a bit more depth and drama...

Vocals:
i was wondering the whole time about the sound until i realized that the main vocal tracks had some strange low frequency noises and rumble in it. I removed it via spectral editing in adobe audition. In the Inserts via EQ i removed everything under 100Hz just to push up 80Hz heavily again with a Neve EQ Emulation. Otherwise its compressed by 2 different Compressors in parallel fashion and put through some Tape-Emulation.

To place everything in a "single room" i used a very short Studio Convolution Reverb and added a plate in different amounts, very subtle to keep something of the original recorded "feeling".

Automation is used on the main Vocal, the Drums and the Guitars in the quite parts to separate this from the rest.

I usually mix in a MixBus with a Console Emulation, as i did also this time using 3 different Compressors and settings with very subtle Gain-Reduction (1db max each on the very loudest parts) and everything goes through a Tape-Emulation again to glue the whole Mix together.

Good Luck to you all!

Hello!


This is my mix for the challenge. Thanks for the great production to mix!


WAV
https://www.dropbox.com/s/52zra501jih1r ... _Rogro.wav

MP3
https://www.dropbox.com/s/8ffrz4h8fcymb ... _Rogro.mp3



Cheers Rogro

Here is my submission for this month:

https://www.dropbox.com/s/nbg7uornxeo81 ... 9.wav?dl=0

Drums:
I first cleaned up any artifacts. Then time and phase aligned tracks. Used Waves SSL Channel Strip on most pieces with a bit of compression. I used more overhead than room sound. I then ran the kick and snare thru a Thermionic Phoenix for 2 separate heavy compression tracks. Those tracks I split out the transients and removed all bleed. Then manually shortened each hit for a more gated heavy compressed sound. I then brought those 2 tracks up just enough in volume against the original tracks to solidify the sound. Toms I did the same. I gave the kick plenty of low end (50hz) and let the Bass have its own area above that.

Bass:
I used the Amp for the most of the bass and blended a re-amp of the bass with that. I also used the Direct track for a particular area in the low end that I thought sounded quite appealing. I took out some of the 200-300 range to let the guitars have that area. I used 2 UAD plugins in series to get the compression I was looking for.

BGVs:
This required a lot of work to align all the syllables from the multiple tracks to the lead vocal track. This tightened things up considerably. I then compressed the sides quite heavily and eq'd appropriately.

Guitars:
I used a fair amount of automation to bring out certain subtle nuances via both volume and eq. I processed the guitars with a Neve 1073 and a tiny bit of UAD 1176. I then took a few of the original guitar amp sounds and filtered out what I thought were some nice frequency ranges and processed with some compression and panned those tracks around to bring out some attack. I side-chained the strummed parts to the lead vox to reduce any conflict the guitars might have with the vocal. Looking back I should have separated the initial guitar pick sound from the strummed sound, but automation did end up taking care of the differences in approaches.

Lead Vox:
I used some short delays (less than 30 ms) to add some depth. Spent some time listening to the frequencies that were most appealing and brought those out a bit. Added some subtle echos and side-chained them to the original vocal to keep them out of the way.

A friendly reminder:
We're in the last 24 hours to submit your edit for MC055.