Mix Challenge

Hi Chris, Mister Fox and the Mix Challenge community.

Cool song, it was fun to work on! Please see linked below links to my interpretation of the mix.

WAV 24bit 48k - https://www.dropbox.com/s/nw9g8g7dl8tjw ... c.wav?dl=0
MP3 320kbps - https://www.dropbox.com/s/7dtrubfuvs3ee ... c.mp3?dl=0

Here are some notes on the mix process.

- Created a tempo map from the original drum performance
- Referencing the tempo map I tightened up timing in various places while retaining the natural ebb and flow of the bands performance.
- Phase aligned drum set
- Phase aligned bass DI and mic
- Kept only the one best sounding mic for each guitar stereo pair. This eliminated phase issues and created a more defined stereo image when panning them hard left and right.
- Retuned lead vocal from original file
- Lo-fi effect on intro, before drums come in, to sound like an old cassette tape demo

Lead vocal
Boost in the low end and top end, compression and saturation to help it cut through mix, long decay reverb and delay that raises volume during long vocal notes
Backing vocals
High passed at 200hz, compressed heavily and lots of reverb
Acoustic guitars
Boost around 400Hz to fill out midrange of mix, high shelf boost to just side signal for extra width. Compression for more consistent strum attack and a touch of reverb
Keys
Cut low mids and lows, boosted above 2k, gentle compression, delay effect and reverb
Bass
On DI some pultec style bass focusing, and distortion added to mic, heavy compression on both
Kick
Blended mic and sample to taste. Boosted lows and highs, scooped out quite a bit of mids, light compression, reduced sustain with transient shaper and gate, some subtle reverb
Snare
For both mics, Gated, boosted lows and highs, scooped out 400Hz. Long decay reverb
Overheads
Panned 75% left and right, some compression to even out cymbal hits, touch of saturation, wide cut at 1k, wide boost at 12k
Drum bus
Pultec boost in lows, subtle boost at 4K, boost in highs and subtle roll off of ultra highs, parallel compression for punch, limiter to rein in some snare peaks, some saturation
Tambourine
High pass at 2k and a boost at 12k, a delay effect during outro and a limiter to tame peaks
Master bus
Light bus compression to glue things together

And a couple of screenshots - https://www.dropbox.com/s/kw3au6zd5ny32 ... 1.png?dl=0
https://www.dropbox.com/s/ryrftbf4dzs1c ... 1.png?dl=0

Cheers,
JamesMusic

Hi all, here is my submission for MC056:

WAV: https://www.dropbox.com/s/vankjes8icbns ... d.wav?dl=0
MP3: https://www.dropbox.com/s/iqdpd06pjl0wu ... d.mp3?dl=0

Here's what I did:

First thing was to beat map the whole thing. I would argue the the suggested 3/4 time signature and 180 bpm are completely inaccurate to the grove of the song. I chose to set up my session in 12/8 with a fluctuating 63ish bpm.

Drums: I put a gate on the live kick and snare to get better separation. All the tracks we EQ'd and compressed as needed. The snare got little extra reverb. The drum buss then got additional EQ & saturation, and was run through a compressor in parallel to the dry signal to add some oomph.

Bass: EQ, compressor, tape saturation, and a transient shaper to help balance the attacks.

Acoustic Guitars: I only used the two SDC tracks, and panned them hard left and hard right. The two tracks went to a buss with a touch of compression, tape saturation, and reverb. There is a low shelf EQ to get them out of the way of the bass.

Piano: EQ, tape delay, and a bit or reverb.

Lead Vocals: I only used the tuned track in triplicate. For the first instance I just used EQ, two compressors in series, tape saturation, and reverb. For the second I used a saturated 30 ips slap delay (I was going for that TV On The Radio multi-vocal kind of sound). And on the third instance I used a driven stutter effect with delay. The first instance is the main focus. The second instance was blended in, and the third instance is automated to turn on and off to add occasional glitches for ambiance.

Background vocals: I only used the four tuned tracks. Each is panned at varying degrees of left & right. Each track was then hit with three compressors in series, and EQ's. The four tracks were bussed to an aux track with tape saturation and reverb, and further processed with automated panning to give some movement.

Every track has a instance of NLS Channel for some extra drive. The master bus has a light compressor to catch any sneaky transients, as well as an EQ to help shape the overall curve.

Thanks for listening. Let me know if there are any questions/ comments/ concerns.

Best regards,
Jeff

A friendly reminder:
Including today, 7 days left to submit your edit

Hi there,

here is my submission:
WAV: https://drive.google.com/open?id=1MNUyH ... BUMxF2buLN

Mixed in the box in ProTools 2019.
All tracks were EQt, silence stripped and compressed with ProTools stock plugins.
Drums: Decapitator and BitterSweet on Kick and Snare.
Bass: Decapitator
Vox: Decapitator. Used the tuned Backing Vocals, but used the untuned Lead Vox and tuned it myself with Melodyne.
Reverb (again ProTools stock plugins) on Drums, Guitars and Vocals.
Very little Delay on the LeadVox.

Looking forward for your feedback and good luck to everybody.

Regards, Arne

Thanks for the song, Chris.

https://drive.google.com/open?id=1LAbDT ... u2ux5ioe5p

//////

DRMS
- KICK; eq, transcient processing, compression
- KICK SAMP; transcient processing
- KICK PAR; parallel compression
- SNR; eq, compression, plate rev insert
- SNR PAR; parallel compression
- OH; eq, deesser, compression, transcient processing, room insert
- TAMB; eq, tape saturation, compression, chamber insert
- DRMS GRP; comp, eq, saturation

BASS
- DI; no processing
- AMP; no processing
- BASS PAR; eq, compression
- BASS GRP; transcient processing, eq, amp, compression

ACGTR
- no processing on individual tracks
- AC GRP1; minimized hand slide, de-esser, exciter, modulation, imaging
- AC GRP2; de-esser, eq, multiband (for low end), imaging

KEYS
- eq, compression, reverb insert, modulation, imaging

LVOX
- dynamic eq, compression, imaging
- LV VOX GRP; filter, deesser, compression, eq

BVOX
- no processing on individual tracks
- BGVOX GRP; compression, modulation, imaging, room insert

Hi everyone, here's my remix. Hopefully shared correctly but I'm sure I'll be quickly educated if not.
Not mastered - lots of headroom so feel free to crank it up.

WAV: https://drive.google.com/file/d/1lA_e5l ... sp=sharing
MP3: https://drive.google.com/file/d/1dIrvot ... sp=sharing

To my ears the song had such potential 'epic-ness' to it, I chose to go down an orchestration/soundtrack route and try and make it as BIG as I could.
I decided to go full-tilt/no mercy with the timing. Dividing every hit etc and nailing to the grid. No copy/pasting though, so the part remains exactly 'as played' but now with a rigid tempo of 90BPM. Took ages, but though it was a worthwhile route to go down.
As I was adding alot of orchestration using samples etc, having everything set to a rigid time made more sense too. Makes programming and creating those parts SO much easier.

Added some choppy 'Col Legno' style parts. I haven't got any good sample libraries, so I've created my own here by recording normal 'long' type string parts, and then chopping them up. Takes ages but sounds more interesting than the regular long sustained notes. Also drives the song along. It is a slow tempo, so adding the double-time strings gives it a bit of movement.
Added 2 cello's, 2 Basses, 2 single (different) violins. It's kind of a Frankenstein sextet.

Processing then, breifly:
Vocals - 'Ghost Limb' sounded like a great excuse to use the reverse reverb trick, so did this on the second verse. Totally OTT!
Multi-band compressed (Waves C6) some mids to try for a smoother vocal tone. Added a loop of the word 'limb' as it's own little part.
Put the Falsetto vocals on a different track and EQ'd those slightly differently, took a bit more of the 'edge' off them at about 5k.

Drums - kept all original drum parts. No samples. Waves SSL 4000 Channel strip for EQ and Compression on each drum track.

KICK - didn't use the Kick Sample provided, and thought it was a well recorded 'Real Kick'. The example mix had quite a clicky heavy-metal sound to it, but I went for a fatter, chunkier job. Big boost at 84hz followed by a big scoop at 200hz.
Snare: Used more of the C1000 mic than the top one in the end. The overheads picked up enough of the top I reckon.
I couldn't quite eq the original overhead/cymbal part enough to make the parts jump out that I wanted though, so I did overdub in a few places using my own Splashes and a China/Trash.
Added chimes and a reverse cymbal too. I have no shame.
Drum Bus: SSL COMP 'Glue' about 4db.

Bass guitar (DI Only): Studio Devil Bass Amp Pro. 8x10 cab, added a fair bit of drive and high-mids.
Sidechaining: Dipped the bass guitar about 4db with the kick drum.

Acoustic Guitar: Only used 2 of the provided tracks. Notched out some of the harsher frequencies - around 3k, panned the LDC left a bit and SDC right a bit. Reverb.

Piano: Nice piano part. Such a great hook. Added a reverse piano note and about 4 tonnes of plate reverb.

Mirrored the piano part with Mellotron strings and removed the acoustic guitar on the 2nd verse. Sounds creepy and I like it.
Also makes the 'nice' jangly middle-8 seem like a huge relief when it comes in.
Stuck a solo horn part on the middle 8 too.

Put a couple of little 'breaks' in for tension in a couple of obvious places.

Bus FX:
TC Electronic M30 for more subtle 'Hall' glue on most tracks.
Lexicon MPX for massive 'Plate' effect reverb.
Soundtoys Echoboy for slight 'slapback' style delay on vocals in places.
Nothing on the master bus.
SONAR X3e Channel Strip with S-Type Console Emulation on each channel.

Look forward to hearing any comments and listening to everyone elses takes on this track. Thanks to Christopher Wilson for recording and sharing and Balaban And The Bald Illegles for writing the epic song!
Excuse my spelling. English IS my first language, I'm just thick.
Sean

First and foremost - welcome to the community - I hope you'll like it here.
But I sadly have to step in for a moment.

SeanieLloyd wrote: ↑

Mon Jul 15, 2019 18:04 CEST

Hi everyone, here's my remix. Hopefully shared correctly but I'm sure I'll be quickly educated if not.

You were exactly right on that.

I have to issue disqualification on your entry. I'm not saying that your entry is bad. In fact, it's an interesting approach, but you pretty much ignored the Rules and Guidelines, and actually went for "remixing" rather than "mixing".

This is a pure mixing challenge - not a "remix/song rearrangement challenge".
We have a different sub-section on this forum, and currently this particular game has been put on hold (lack of participation and source material)


Reason for the disqualification:

• you added material that wasn't there before. Like strings, a mellotron, an additional vocal line (repeated/pitched - arguably a special effect/creative mix decision), additional percussion bits (e.g. cymbals and chimes)
• you removed parts that were part of the production (doubled acoustic guitar)
• you therefore drastically changed the existing arrangement

Again, an interesting production - but it is way off the mark of this game's concept.
Please get acquainted with the official Rules and Guidelines again. And good luck for the next game.

SeanieLloyd wrote: ↑

Mon Jul 15, 2019 18:04 CEST

► Show Spoiler

Hi everyone, here's my remix. Hopefully shared correctly but I'm sure I'll be quickly educated if not.
Not mastered - lots of headroom so feel free to crank it up.

WAV: https://drive.google.com/file/d/1lA_e5l ... sp=sharing
MP3: https://drive.google.com/file/d/1dIrvot ... sp=sharing

To my ears the song had such potential 'epic-ness' to it, I chose to go down an orchestration/soundtrack route and try and make it as BIG as I could.
I decided to go full-tilt/no mercy with the timing. Dividing every hit etc and nailing to the grid. No copy/pasting though, so the part remains exactly 'as played' but now with a rigid tempo of 90BPM. Took ages, but though it was a worthwhile route to go down.
As I was adding alot of orchestration using samples etc, having everything set to a rigid time made more sense too. Makes programming and creating those parts SO much easier.

Added some choppy 'Col Legno' style parts. I haven't got any good sample libraries, so I've created my own here by recording normal 'long' type string parts, and then chopping them up. Takes ages but sounds more interesting than the regular long sustained notes. Also drives the song along. It is a slow tempo, so adding the double-time strings gives it a bit of movement.
Added 2 cello's, 2 Basses, 2 single (different) violins. It's kind of a Frankenstein sextet.

Processing then, breifly:
Vocals - 'Ghost Limb' sounded like a great excuse to use the reverse reverb trick, so did this on the second verse. Totally OTT!
Multi-band compressed (Waves C6) some mids to try for a smoother vocal tone. Added a loop of the word 'limb' as it's own little part.
Put the Falsetto vocals on a different track and EQ'd those slightly differently, took a bit more of the 'edge' off them at about 5k.

Drums - kept all original drum parts. No samples. Waves SSL 4000 Channel strip for EQ and Compression on each drum track.

KICK - didn't use the Kick Sample provided, and thought it was a well recorded 'Real Kick'. The example mix had quite a clicky heavy-metal sound to it, but I went for a fatter, chunkier job. Big boost at 84hz followed by a big scoop at 200hz.
Snare: Used more of the C1000 mic than the top one in the end. The overheads picked up enough of the top I reckon.
I couldn't quite eq the original overhead/cymbal part enough to make the parts jump out that I wanted though, so I did overdub in a few places using my own Splashes and a China/Trash.
Added chimes and a reverse cymbal too. I have no shame.
Drum Bus: SSL COMP 'Glue' about 4db.

Bass guitar (DI Only): Studio Devil Bass Amp Pro. 8x10 cab, added a fair bit of drive and high-mids.
Sidechaining: Dipped the bass guitar about 4db with the kick drum.

Acoustic Guitar: Only used 2 of the provided tracks. Notched out some of the harsher frequencies - around 3k, panned the LDC left a bit and SDC right a bit. Reverb.

Piano: Nice piano part. Such a great hook. Added a reverse piano note and about 4 tonnes of plate reverb.

Mirrored the piano part with Mellotron strings and removed the acoustic guitar on the 2nd verse. Sounds creepy and I like it.
Also makes the 'nice' jangly middle-8 seem like a huge relief when it comes in.
Stuck a solo horn part on the middle 8 too.

Put a couple of little 'breaks' in for tension in a couple of obvious places.

Bus FX:
TC Electronic M30 for more subtle 'Hall' glue on most tracks.
Lexicon MPX for massive 'Plate' effect reverb.
Soundtoys Echoboy for slight 'slapback' style delay on vocals in places.
Nothing on the master bus.
SONAR X3e Channel Strip with S-Type Console Emulation on each channel.

Look forward to hearing any comments and listening to everyone elses takes on this track. Thanks to Christopher Wilson for recording and sharing and Balaban And The Bald Illegles for writing the epic song!
Excuse my spelling. English IS my first language, I'm just thick.
Sean

wouldn't it be exciting, when 1 month after the successful mixing challenge, the same song is granted clearance for a remixing competition?
for some artists it might be quite exciting, what their creation is capable of, while others perhaps dedicate to precisely one vision of how it has to come out.

We'd still need a client for this, and then users that already created a remix during the regular game have a 1-month advantage.

I'll put it on the list of requests though.

Hi guys!
Here's my mix.
I tried to give a deep atmosphere. I really like the vocal timbre, I didn't do any editing. It has charm with imperfections.
Comments are welcome!
https://www.dropbox.com/s/3pvv23bu80kbl ... o.wav?dl=0
https://www.dropbox.com/s/dwt5sfd81hbye ... o.mp3?dl=0