https://drive.google.com/file/d/1-hyojB ... sp=sharing
Thank you @Strange for posting the music.
Following the song provider's suggestions I tried to get the mix bouncy and happy, whatever processors I used are geared toward that goal.
Kick: more beater
Snare: tighter and more snap
Bass: paralleled to get top end
Guitars: re-amped
Vocal: paralleled for stronger voice
Those are the most important, imo, to work on to get a bouncy mix. Hope you like it. Thx
MIX CHALLENGE - MC103 April 2025 - Submissions until 21-APR-2025 23:59 UTC+2/CEST
Re: MIX CHALLENGE - MC103 April 2025 - Submissions until 21-APR-2025 23:59 UTC+2/CEST
Hi everyone!
Big thanks to the song provider for sharing the track — it was fun working on this one!
As for my monitoring setup: my main reference speakers are Focal Solo6 BE, and I also check the mix on Sennheiser HD660S headphones and AirPods Pro.
MIX
Mixing Notes:
For the drums, I enhanced the kick with some top-end boost, subtle compression, and saturation for punch. Snare was cleaned up with EQ, compressed, and sent to a reverb bus for depth. Overheads and room mics were balanced for a natural feel. The bass was EQ’d to sit well with the kick and compressed for consistency. Electric pianos and synths were shaped with EQ to avoid masking and placed in the stereo field with panning and modulation. Guitars were treated with light compression, some midrange sculpting, and stereo widening. Lead vocals went through gentle de-essing, EQ, compression, and time-based effects (reverb and delay sends). Backing vocals were blended with some saturation and spatial effects. A light mastering chain was added for final glue and loudness.
Good luck to everyone!
Big thanks to the song provider for sharing the track — it was fun working on this one!
As for my monitoring setup: my main reference speakers are Focal Solo6 BE, and I also check the mix on Sennheiser HD660S headphones and AirPods Pro.
MIX
Mixing Notes:
For the drums, I enhanced the kick with some top-end boost, subtle compression, and saturation for punch. Snare was cleaned up with EQ, compressed, and sent to a reverb bus for depth. Overheads and room mics were balanced for a natural feel. The bass was EQ’d to sit well with the kick and compressed for consistency. Electric pianos and synths were shaped with EQ to avoid masking and placed in the stereo field with panning and modulation. Guitars were treated with light compression, some midrange sculpting, and stereo widening. Lead vocals went through gentle de-essing, EQ, compression, and time-based effects (reverb and delay sends). Backing vocals were blended with some saturation and spatial effects. A light mastering chain was added for final glue and loudness.
Good luck to everyone!
Re: MIX CHALLENGE - MC103 April 2025 - Submissions until 21-APR-2025 23:59 UTC+2/CEST
Hi, this is my first attempt here and I’m really excite to have some feedback from you.
Here's my mix: https://drive.google.com/file/d/1EIemb ... sp=sharing
I usually mix with REAPER and a hybrid setup, because I prefer hardware saturation and dynamics but ITB eq (usually SSL native channel) for a quick recall.
So, on this beautiful song I do more or less this thing:
DRUMS: have a parallel to a townhouse convolution that gives a lot of pumping at drum and I work on each channel with a SSL native channel. There’s a bit of reverb on the snare
BASS: at first there’s a parallel to a channel strip with a valve preamp and a VCA comp. This gives me the sound I love on bass. There’s a eq for give some space at the kick
GUITARS: I pan a lot very track for have spatiality in the mix, there’s a parallel to a UAD distressor that I love on guitar and to an UAD tape echo.
SYNTH: nothing too strange, I pan also this thing a lot
EPIANO: I have two parallels here: one to a convolution of SSL FUSION (I know is a master outboard but sometimes I love this one on buss); other parallels goes to a YAMAHA SPX50D from ’80… this time I use this for chorus (everyone I think knows the symphonic preset on this)
MAIN VOX: eq by usually SSL, an analog 1176 (it works a little but give a lot of presence) and a parallel to another analog outboard a multifx for delay and reverb
BVOX: I use a parallel to the 1176 with the same settings of main vox for have some glue with that.
MASTER BUSS: I use a tape machine emulation for some analog color and a de-esser for any kind of harshness
Let me know what you think about…
Here's my mix: https://drive.google.com/file/d/1EIemb ... sp=sharing
I usually mix with REAPER and a hybrid setup, because I prefer hardware saturation and dynamics but ITB eq (usually SSL native channel) for a quick recall.
So, on this beautiful song I do more or less this thing:
DRUMS: have a parallel to a townhouse convolution that gives a lot of pumping at drum and I work on each channel with a SSL native channel. There’s a bit of reverb on the snare
BASS: at first there’s a parallel to a channel strip with a valve preamp and a VCA comp. This gives me the sound I love on bass. There’s a eq for give some space at the kick
GUITARS: I pan a lot very track for have spatiality in the mix, there’s a parallel to a UAD distressor that I love on guitar and to an UAD tape echo.
SYNTH: nothing too strange, I pan also this thing a lot
EPIANO: I have two parallels here: one to a convolution of SSL FUSION (I know is a master outboard but sometimes I love this one on buss); other parallels goes to a YAMAHA SPX50D from ’80… this time I use this for chorus (everyone I think knows the symphonic preset on this)
MAIN VOX: eq by usually SSL, an analog 1176 (it works a little but give a lot of presence) and a parallel to another analog outboard a multifx for delay and reverb
BVOX: I use a parallel to the 1176 with the same settings of main vox for have some glue with that.
MASTER BUSS: I use a tape machine emulation for some analog color and a de-esser for any kind of harshness
Let me know what you think about…