Mix Challenge

Al B. wrote: ↑

Wed Jul 25, 2018 19:19 CEST

How are the M/S room tracks actually used? Does anyone know a good tutorial?

I guess the logical thing to do after it has been decoded, is to group it (treating it individually can be deceiving) and process it to give depth to the drum mix. maybe crush it a little bit. i wouldn't use image enhancers for that.

yep. using heavy compression on the mono room track is quite a common technique... I usually mix the M and the S together in one Sub-Group and adjust the S-track for the width of the stereo-field.
Simply create 2 copies of the Room track: 1 for compression, another one for the distortion and mix it together with the M/S Sub-Group into the Drum Bus as you like.

Al B. wrote: ↑

Wed Jul 25, 2018 19:19 CEST

How are the M/S room tracks actually used? Does anyone know a good tutorial?

Since there were two versions of the "M/S Room" available, there are two routes to go.

The mono MID channel and the stereo SIDE is pretty much usable as is. You only need to blend the two channels together. More mid for "more center focused material", more side than mid for "more stereo/side" signal.

You can of course also use the mono MID and mono SIDE track that was provided. But you need to "Decode" the signal to stereo first. For this you can either use a tool like Brainworx bx_control (see manual page 11) or Nugen Audio SIGMOD (see manual page 7).



MID/SIDE is created by one cardioid (polar pattern) microphone and one figure 8 (polar pattern) microphone rotated by 90 degrees, so that the carioid picks up the front, while the figure 8 microhone pick up the "sides". The side signal (on a real hardware) is created by routing the signal from the figure 8 microphone to two channels on the mix console, while phase inverting one of the channels. Here is a quick run-down of the technique:
https://www.uaudio.de/blog/mid-side-mic-recording/
https://www.dpamicrophones.com/mic-univ ... -technique

The main advantages of a M/S setup are:
1) Phase coherent
2) mono compatible
3) nearly zero interaural time difference

Thanks for the information! I had a panning and routing error in my project, which is why it didn't work. Now it works.

I'm sorry.
I submitted the file on July 8, but the file name was not as per the rule and I changed it.
Please use the following URL for evaluation.

wav: http://colabo-share.s3-ap-northeast-1.a ... ruhitp.wav
mp3: http://colabo-share.s3-ap-northeast-1.a ... ruhitp.mp3

yoruhitp wrote: ↑

Thu Jul 26, 2018 06:44 CEST

I'm sorry.
I submitted the file on July 8, but the file name was not as per the rule and I changed it.
Please use the following URL for evaluation.

wav: http://colabo-share.s3-ap-northeast-1.a ... ruhitp.wav
mp3: http://colabo-share.s3-ap-northeast-1.a ... ruhitp.mp3

If this version doesn't perfectly cancel out with the previous one on a null test you're in big trouble

thomasberg wrote: ↑

Fri Jul 13, 2018 18:00 CEST

Hi!

Nice song to work on!
And really nice to test myself without the help of samples


MP3: https://www.dropbox.com/s/bt9v1ug3rnqb4 ... g.mp3?dl=0

WAV: https://www.dropbox.com/s/p6x5edxxg2i6d ... g.wav?dl=0


Thanks!

-Thomas

EDIT:

"Documentation to your production"


I gave myself a challenge, to mix this song in one day since I often overanalyze my mixes and do stupid tings when I have too much time on one song.


Key things I did in my mix :

Slate VMC on all tracks, and Slate Tape on groups and master.

DRUMS:
BXconsoleN to gate kick and snare, and eq out the classic 400hz box sound.
Room mono: 1176 ALL buttons in and Decapitator. "Meat" and mid energy.
On the drumbus I used a Slate Distressor in parallell, and also there carved out som of the 440 boxiness.
BXroom on drumbus, and a convolution EMT 244 plate on snare.

BASS:
DI: Away with 148 hz, and a lowpass.
AMP: About the same but subtracting 320.
BUS: 1176 , L2 , Maxxbass.

GUITARS:
Reamped some of the tracks, to get less distortion.
BUS: Distressor in parallel, and rolling of some low end.

VOCAL:
Vocalrider, SSL eq, 1176, and Distressor.
EFFECTS: Slap delay, ducking 1/4 delay, a little plate (same as snare) and a little room (same as drumkit)

DUBS AND CHOIR:
EQ roll off bottom
CLA Vocals little bit spread and bite
CLA 1176

STEREO BUS:
SLATE VMC
SLATE TAPE
BLACK BOX HG-2

To sum it all up; tried to make the instruments to sit in the same room, but also make it "radio" friendly with hard hitting drums and vocals.

3ee wrote: ↑

Thu Jul 26, 2018 14:26 CEST

yoruhitp wrote: ↑

Thu Jul 26, 2018 06:44 CEST

I'm sorry.
I submitted the file on July 8, but the file name was not as per the rule and I changed it.
Please use the following URL for evaluation.

wav: http://colabo-share.s3-ap-northeast-1.a ... ruhitp.wav
mp3: http://colabo-share.s3-ap-northeast-1.a ... ruhitp.mp3

If this version doesn't perfectly cancel out with the previous one on a null test you're in big trouble

I just changed the name of the previously uploaded file, but is there a problem?
I do not know the meaning of the null test, can you explain in a bit more detail?

A null test would be, if you phase invert the source (in this case the first mix you uploaded) with the file you want to compare (in this case the renamed file). If it's the same render, then it should cancel each other out - one might even say "it nulls" (hence "null test").

3ee was trying to aim at a possible re-submission with edits after your initial submission, therefore pointing out a possible rule violation. I didn't download all files myself, but if yours was uploaded properly but only improperly named, then there was no need to resubmit. It's a learning process - just keep in mind to properly name your mix in the next game.

I am happy to announce the following sponsor for the Mix Challenge:



NOS Audio is kind enough give away one license of NOS Roomer of winner's choice
License will turn into NFR
More info on NOS Audio: http://www.nosaudio.com/


A huge thank you goes to NOS Audio for providing the licenses.