MIX CHALLENGE - MC080 September 2021 - Mix Round 2 in evaluation (staff taking over)

[LCM!]

My take:

https://drive.google.com/open?id=1_0lJ2 ... p=drive_fs

Mixed in Reaper ITB. Wanted an organic sound, and a small to medium soundstage to reflect a bit the feeling of the song. It has been a pleasure to do the mix.
Vocal chain: initially, it felt too middy, corrected mainly with a pultec style eq.
1. Fuse Audio VPre-376: for the colour, which contributes to reduce some nasal mids.
2. Kush Electra DSP: boosting tiny bit of 1,8 kHz , high pass at 100 Hz.
3. Softube Fet compressor: 4:1 ratio, slowest attack, fastest release to catch some peaks
4. LSR VLB902: for deessing
5. Klanghelm MJUC: MkIII, attack at 2, release at 4, no density or istage, used as a leveler, barely reaches 4 db of GR sometimes.
6. Black Rooster VEQ-1P: boost and atten at 4 at 100 Hz, boost at 3 at 10 kHz. To give some air and lows, smoothens the mids.
Some volume automation was used, no pitch correction. The feeling of the song (loneliness) allows for some pitch deviations, feels more vibey.
Vocal FX sends:
Send 1: LSR VLB902 deesser + Black Rooster O-140 plate reverb, to give the vocal some depth. The volume of the reverb is automated during the song.
Send 2: LSR VLB902 deesser + Liquidsonics Seventh Heaven in Studio B close configuration, to give some sensation of occupying a space, but with some intimacy.

Acoustic guitar chain: it felt a bit too boomy or big, wanted a smaller sound but distinct, with presence.
1. Elysia karacter: for some harmonics, richer sound, drive near 2.
2. Kush Electra DSP: HP filter at 162 Hz to make space for the cello. Less boomy with Low shelf at – 1db and LMF at 100 Hz with -1.2 db. HF shelf at -4.2 db at 5.30 kHz to reduce highs and -1,3 db at 1,5Hz approx. to make space for the vocal.
3. Kush AR-1: for some levelling action and colour (more low mids) at the default position.
4. Soundtoys Tremolator: some ¼ note tremolo to add some motion to the guitar sound
Some volume automation, Pan at 20%R.
Acoustic guitar FX sends:
Send 3: Liquidsonics Seventh Heaven in London Plate to give some depth to the guitar.
Send 4: Exponential Audio Nimbus in Large Neutral Hall configuration to integrate the guitar in a space together with the strings.

Piano chain: wanted a wider piano with less mids, more highs. Volume automation was needed.
1. Fuse Audio Vpre-2C: felt bigger, wider, more harmonics.
2. Kush Electra DSP: HP at 90 Hz, some cut at 433 Hz to make space for the guitar, some cut at 1,5 Hz to make space for the vocal, and some air at 8 kHz.
3. Millennia Twincom TCL-2: in JFET, with some compression for the louder parts, felt less middy.
4. SPL Passeq: in MS mode to cut some 1,5 kHz in the Mid to make space for the voice, and some boost at 2,8 kHz in the Side to make it wider.
5. Ozone Imager: a bit wider.
Pan at 21%L.

Cello piz: removed some resonances at 110, 160 and 352 Hz with Brainworx Digital V3 eq. Kush Omega A for some presence. Pan at 11%L.
FX send:
Send 5: Exponential Audio Nimbus in Neutral Hall with shorter reverb than Send 4.

Strings piz: A bit of Brainworx Digital V3 eq for high pass, make space for other instruments at 430 Hz, and some high shelf at 4 kHz. Pan at 9%R
FX send:
Send 4: Exponential Audio Nimbus in Large Neutral Hall configuration to integrate it in a space together with the other strings and other instruments.

Cello chain: it’s the bass of the song, wanted to make it present, almost synth like (tiny tiny bit)
1. Kush Omega N: some colour and harmonics reinforcing the lower mids.
2. Kush Electra DSP: HP filter at 25 Hz, low shelf tiny boost, some cut at 500 Hz to make space for other instruments, some cut at 1,7 kHz to make space for the voice, boost at 3,2 kHz with high shelf to give presence.
3. Brainworx Subsynth: no subharmonic synth used, only to clean and give more lower end.
Pan at 6%R
FX send:
Send 4: Exponential Audio Nimbus in Large Neutral Hall configuration to integrate it in a space together with the other strings and other instruments.
Violin 1 and 2 chains: some volume automation to correct some notes that don’t end at the same time. Wanted a mellower sound.
1. PA Lindell 254E: for some levelling and darker colour, mellower.
2. Kush Electra DSP: mostly removing some highs and making space for the voice.
3. Bx digital v3 eq: to remove more 1,5 kHz for mor space for the vocals and a smoother sound.
Violin 1 panned at 20%L, Violin 2 panned at 9%R.
Violin group chain:
TDR Kotelnikov for compressing loudest parts, SPL Passeq in MS mode to make some space in the MID for the vocals, a bit of Black Rooster plate to give some depth and Ozone Imager to widen.
FX sends:
Send 4: Exponential Audio Nimbus in Large Neutral Hall configuration to integrate it in a space together with the other strings and other instruments.

Strings group: All strings were grouped in a bus for some coherence with Pulsar Mu compressor with levelling action and some MID eq from Bx digital v3 eq cutting near 1,5 kHz to make space for the vocals.

Mix bus:
1. Cytomic The Glue: ratio 2:1, attack at 30 ms, release at A, compressing up to maybe 2 dbs at most in louder parts.
2. Maag EQ2: giving 1 db at 40 kHz for some air.
3. Voxengo Elephant: to gain 2db, no limiting happens.

Hi, I think your link doesn't work

[D.Pinck]

Hello Mix Challenge

Thank you for this challenge, the song is wonderful and I had fun mixing this one.
Here's my wav file this time proper file name.

https://drive.google.com/file/d/1_M5jcE ... sp=sharing

I mixed this on ProTools. I wanted to keep the song with it's intimate feeling so I used minimal EQ, Comp and Reverb as the main adds. I also wanted to fill the soundstage without losing the atmosphere so I duplicated tracks, panned them and then also added a small amount of delay with the Haas effect added to the panning.
I copied the exact settings I came up with for each plugin on each track so that there was a mirror image.
Here's the track run down.

Cello tracks: Scheps Omni channel for primary EQ, Compression and Saturation, then Mod Delay 3, and EQ3-7band.
Cello Piz. tracks: Scheps Omni channel for primary EQ, Compression and Saturation, then Mod Delay 3, and EQ3-7band.
Strings Piz. tracks: Scheps Omni Channel for primary EQ, Compression and Saturation, then Mod Delay 3, and EQ3-7band.
Violin 1 tracks: Scheps Omni channel for primary EQ, Compression and Saturation, then Mod Delay 3, EQ3-7band, and Neutron 3 Equalizer. I used the Neutron 3 for dynamic equalizer qualities and to sweep out a couple harmonics I didn't like.
Violin 2 tracks: Scheps Omni channel for primary EQ, Compression and Saturation, then Mod Delay 3 and EQ3-7band.
After I duplicated the Acoustic track, I split the two guitars and identified for certain parts of the song form.
Acoustic Gtr 1: Played refrains as well as the bridge, 3rd chorus and the ending: Scheps Omni channel for primary EQ, Compression and Saturation, Neutron 3 Equalizer for use of Dynamic EQ and pulling out harmonics I didn't like, then Mod Delay 3 for more aggressive Haas effect.
Acoustic Gtr 2: Played Verses 1 and 2, all three choruses and the ending: Scheps Omni channel for primary EQ, Compression and Saturation, Neutron 3 Equalizer for the dynamic EQ use and pulling out harmonics I didn't like. I then tweaked a Doubler2 from Waves to get a hybrid chorus sound with some extra movement from this Acoustic.
The Piano Tracks: Scheps Omni channel for primary EQ, Compression and Saturation, and the EQ3-7band.
For the Vocals track: Scheps Omni channel for primary EQ, Compression and Saturation, Neutron 3 Equalizer for dynamic EQ and harmonics to pull, a D3 DeEsser, and EQ3-7band for final tweaking of the EQ.
On my Sub Master I used Ozone 9 and my chain consisted of Equalizer 1, Vintage EQ, Vintage Compressor, Vintage Limiter and Maximizer.
I used Abbey Road Chambers for 3 different rooms for my Reverb auxiliary tracks. I had all strings in 1, the Guitars and Piano in another, and the Vocals in her own room.

I automated volume on all tracks and used volume automation on her vocals to help bring out consonants and syllables a little better.

My loudness level was at -14.7 LUFS True Peak Max -5.5dB

Best of luck to everyone!

[fcamp]

My take:

https://drive.google.com/open?id=1_0lJ2 ... p=drive_fs

Mixed in Reaper ITB. Wanted an organic sound, and a small to medium soundstage to reflect a bit the feeling of the song. It has been a pleasure to do the mix.
Vocal chain: initially, it felt too middy, corrected mainly with a pultec style eq.
1. Fuse Audio VPre-376: for the colour, which contributes to reduce some nasal mids.
2. Kush Electra DSP: boosting tiny bit of 1,8 kHz , high pass at 100 Hz.
3. Softube Fet compressor: 4:1 ratio, slowest attack, fastest release to catch some peaks
4. LSR VLB902: for deessing
5. Klanghelm MJUC: MkIII, attack at 2, release at 4, no density or istage, used as a leveler, barely reaches 4 db of GR sometimes.
6. Black Rooster VEQ-1P: boost and atten at 4 at 100 Hz, boost at 3 at 10 kHz. To give some air and lows, smoothens the mids.
Some volume automation was used, no pitch correction. The feeling of the song (loneliness) allows for some pitch deviations, feels more vibey.
....

Hi, I think your link doesn't work

Thanks! I think it was the configuration of my google drive. I have updated it, could you please check if it works now? I would be very grateful.

[Christoph_K]

MC080_Eavesdrops__Alone__Christoph_K

Hello everyone,

First a big „thanks“ to @Square for providing this song!

Here’s my entry: https://www.dropbox.com/s/e2edhgfd2wrwk ... K.wav?dl=0

I tried to keep things simple and honest, without playing around too much to keep the fragile mood and intimacy of the recording.

For this track I used the Brainworx Console N on every channel.

Guitar: 1176, LA-2A, NEOLD BIG AL for some midrange presence, UA Ocean Way
In the Chorus parts: SDD-3000 for more depth

Piano: LA-3A, slight slap back echo, UA Ocean Way

Strings: carved out some harsh frequencies in the violins, UA Ocean Way

Vocals: Slight Autotune for pitch correction, 1176, LA-3A, UA Ocean Way

FX: UA Capitol Chambers, Liqudsonics Reverberate with Bricasti

Mixbus: SPL Iron, Chandler Limited Curvebender for boosting 10k and 150hz, Pultec without doing any EQ, bx V3 for widening.

Masterbus: ATR-102, Oxford Limiter

Good luck everyone!

[mattaroni_and_cheese]

Hi,

Forgive any mistakes, it's my first time here and I found work suddenly very busy and am now in a rush to submit. I've read over the rules a few times but still want to be sure I'm following them correctly, hopefully this is the right place for these questions:
- Can I use soothe2 on master bus ? I don't need it, I was just experimenting with a trial.
- Can I use maximizer on master to help me get to around -18 ?
- Can I use harmonizer on vocals or is that considered arranging or producing ?

thank you for hosting !
-Matt

[acelo]

Hi, here is my rendition:
https://drive.google.com/file/d/1HEwSwQ ... sp=sharing

Beautiful song and soulful singer. I also really like the sound of the guitar. Good work Matthew.

General aim: accentuate the feeling of aloneness with less fx.

Guitar: saturation, then subtractive and tone EQ, also a little compression for groove, and add sidechain for vocal.

Piano: not much, just remove unwanted frequencies and gentle compression.

Cello: add saturation especially for the low end.

Cello Piz: same treatment as piano.

Strings Piz: used plugin to spread the signal to stereo, subtle treatment.

Violins: pan left and right, remove unwanted freqs, gentle compression and add sidechain for vocal.

Vox: pitch and time editing, gain automation, hp/lp for focus, saturation, carve out the freqs, then add serial compressions. I also add par compression and automate some FX like chorus and reverb.

FX: room and tail verbs for all and some individual FX for tracks (delays and reverbs).

Master Bus: less than ~1db compression for glue, and some volume automation

Hope you guys like it!

[Mister Fox]

Hi,

Forgive any mistakes, it's my first time here and I found work suddenly very busy and am now in a rush to submit. I've read over the rules a few times but still want to be sure I'm following them correctly, hopefully this is the right place for these questions:
- Can I use soothe2 on master bus ? I don't need it, I was just experimenting with a trial.
- Can I use maximizer on master to help me get to around -18 ?
- Can I use harmonizer on vocals or is that considered arranging or producing ?

thank you for hosting !
-Matt

Hi Matt,

aside from reasonable summing bus treatment, this is all covered in the FAQ of the Mix Challenge

[justeluis]

Hi everyone!
First time here and hope not the last!

I hope you like my mix :

Here is the link to download the .wav :
https://drive.google.com/file/d/1-SVrJA ... sp=sharing

[delicate]

Here is my take:
.WAV

I am returning to mixing as my hobby after a long break. The mix was done in an untreated room with Adams T5Vs; my Focal Shape Twins are still sitting in their boxes. This time I just tried to enjoy the process without even ABing with references (but yeah, I listened to them beforehand).

I tried to improve instrument separation as much as possible; it also involved a 1db cut at 300hz on the Mixbus to decrease muddiness as a late-stage fix. Improved the low cello with some EQ and heavy tube saturation. Vocals were treated with some subtractive EQ and serial compression. I also used an in-line low-mix spring verb by Arturia to add preamp grit and make the vocal more chesty.

To add some movement, I added parallel 1176 compression on the whole mix with some level automation. I believe it helped me to slightly elevate the choruses. The mixbus was treated with some general EQ and a few tape emulations.

Take care.

[mattaroni_and_cheese]

Hi,

Forgive any mistakes, it's my first time here and I found work suddenly very busy and am now in a rush to submit. I've read over the rules a few times but still want to be sure I'm following them correctly, hopefully this is the right place for these questions:
- Can I use soothe2 on master bus ? I don't need it, I was just experimenting with a trial.
- Can I use maximizer on master to help me get to around -18 ?
- Can I use harmonizer on vocals or is that considered arranging or producing ?

thank you for hosting !
-Matt

Hi Matt,

aside from reasonable summing bus treatment, this is all covered in the FAQ of the Mix Challenge

Thanks for the reply ! I've reviewed the rules and FAQ's and addendums many times but they just seems to confuse me more than anything else, which is why I was hoping for some clarification here. It says vocal comping is allowed, but don't change the arrangement and don't change the sounds, and I'm honestly not sure if adding a harmonizer would be considered arranging or not. I see for "don't master" there's a series of explanations that seems a bit subjective, like if you do this and this and this plus eq well now it's right on the line, and I'm not sure how Soothe would be considered. I guess using maximizer would be 'mastering' so to be better safe than sorry i will just remove all three, better than to be disqualified !