Mix Challenge

Thanks for the song.

Mix Link:
https://www.dropbox.com/s/o09ticmh2z822 ... 8.wav?dl=0


mix details:

DRUMS:

(all individual kit parts sent to a bus for parallel compression)
(No Samples added)

• HI-HAT:
Logic EQ: Hi-pass to 300 Hz 6dB/oct, cut 780Hz 2.5dB, boost 7.5k 1dB.

• CRUNCH ROOM
Logic EQ: hi-pass 123Hz 12dB/oct.

• KICK IN
SPL transient designer: more attack less release.
waves SSL channel EQ: boost 8K 3dB, boost 5k 3dB, cut 0.5k 6dB.


• KICK OUT
SPL transient designer: more attack less release
waves SSL channel EQ: boost 8K 7dB, boost 5k 6dB, cut 0.27k 7dB, boost 60Hz 2dB.

• KICK SUM
Pro-Q3: cut 480 5dB, boost 15k 5dB.
UAD Pultec: boost&cut at 60Hz 1dB, boost 8K 1dB.

• OH
Hi-pass to 200Hz 12dB/oct.

• ROOM
Hi-Pass to 100 Hz 12dB/oct.

• SNR BOT
SPL transient designer: more attack less release.
waves SSL channel EQ: boost 8K 2dB, boost 200Hz 2dB, cut 0.5k 4dB, Hi-pass 60Hz.

• SNR TOP
SPL transient designer: more attack less release.
waves SSL channel EQ: boost 8K 4dB, boost 4k 5dB, cut 0.25k 4dB, Hi-pass 100Hz.

• SNARE SUM
DBX 160: 1dB GR.
Slate revival: add shimmer 10 value.
Pro-Q3: cut at 340 Hz.
JST clip: (peak limit).

• TOMS
waves C4: default Logic Pro Equal balance 3to 4 dB. GR.


• DRUM SUM:
Kramer pie: GR 1dB, 3:1 ratio, fastest release.
Pro-Q3: cut at 217 Hz.
JST clipper: for peak limiting/clipping no boost.

• DRUMS SENDS:
Parallel compression bus: Waves V-Comp 3:1 ratio, 12dB GR, fast release, auto attack.
Snare reverb: sends to H-Verb: plate reverb.

BASS
CLA 3A: 5dB GR.
Pro-Q3: cut 3dB at 97Hz, cut 1dB at 3K.

GUITARS
• CHRS CAB
Waves renaissance Axx : 1dB GR, fast attack.
Logic EQ: Hi-pass at 200 Hz 12dB/oct, cut 320 2dB.


• CRUNCH
Scheps 73: boost 1.6k 1dB.
Kramer tape: 15 IPS, over, 150 flux.
Pro-Q3: cut 2dB at 250.
SSL channel: boost at 6k, cut at 500 2dB.


• FUNKY CAB
Logic EQ: Hi pass to 380Hz, notch 3.2K 12dB, boost 2.8K 3dB.
CLA-3A 1dB GR.

• LEAD CAB
Logic EQ: Hi-pass 190 Hz.
CLA-3A 2dB GR.

• p cars cab
R-comp 4 dB. GR.
Logic EQ: Hi-pass 135Hz, boost 3.2k.
L1 limiter (peak limiting no boost).

• VRS cab
no processing only bus processing

• Guitars SUM Bus
Logic EQ: Hi pass 100 Hz 6dB/oct, Low pass 9k 6dB/oct.


KEYS
• LEAD KEYS
Kramer tape (default settings)
Scheps 73: no EQ just for 1073 color.

• PAD
Logic EQ: boost 1dB at 1k cut 2.5k 3dB, boost 7.6k 3dB, cut 300 3.5dB.

• BUILD
no processing, only send to little plate reverb.

• RHODES
Pro-Q3: Hi-pass 100Hz 12dB/oct, cut 2.6k 4dB, boost 7k 8dB.

• SWELL
Logic EQ: Hi pass 300 Hz 12dB/oct, boost 915Hz 1.6dB, cut 2500 3.5 Hz, boost 8500 1.4dB.


VOX
• AHHS
Pro-Q3: Hi pass 123Hz, cut 2.5k 1.8dB, boost 30k 12dB high self.
Waves PuigChild 5dB GR.

• BGV
Scheps 73: boost high 2dB.
Waves PuigChild: 5dB GR.

• LEAD VOCAL
UAD Neve 1073: boost high 2dB, boost 7.2k 2dB, boost 220 2dB.
Waves SSL channel EQ: boost 15k 2dB, boost 2k 2dB, boost 3k 3dB, boost 0.2k 7dB.
Maag EQ: boost 40k 4dB.
UAD 1176 blue 5dB GR.
Waves Mv2: low level 8, high level 2.

• LEAD VOCAL SENDS FX
LX 480 Reverb: plate, RTM&PDL aligned with tempo .
Logic pro stereo delay: 10ms difference.
Logic pro tape delay: aligned with the tempo.
Logic pro echo: 1/8 note echo.
Waves doubler: default setting.

• LOW LV
Logic EQ: Hi pass 150, low pass 6k.
Scheps 73: boost 12k 6dB.
CLA-3A: 4dB GR.
Devil-loc: some crush and crunch to saturate the sound.

• SOFT LV
Scheps 73: boost high 2dB.
Waves PuigChild: 5dB GR.

• CRUNCH
L1 limiter: (control dynamic)
Devil-loc: some crush and crunch to saturate the sound


MIX BUS
Only UAD SSL Bus Comp: slowest attack, auto release, 10:1 ratio.

I had a whole mix ready to go but the Logic file was corrupt.

So I did an entire remix this weekend from the ground up (give or take two hours of additional tweaks) and it's much stronger imo.

Originally I squished her voice with the MAAG, to get that Bebe Rehxa-y vocal sound, but as it turns out, an EQ>La-2A>1176 chain works fine! Wanted to make this a very vocal-centric mix, so there's lots of F6-RTA in here.

The drums were even more fiddly - I definitely bypassed more plugins than actually used them! The snare was tough to get right, because if the stereo image was too wide it wouldn’t sit correctly, it if it was too narrow there wouldn’t be the same *bigness* I was looking for.

The mix bus was the most challenging - trying to keep things loud and punchy while staying within range! Ultimately just went with a TDR Kotelnikov taking off 2db of compression.

-16.7 LUFS, -1.13 dbTP.
This is such a fun song and very well recorded - I used Misterwives and Paramore as more comparison points in addition to the Anteros and 1975 recommendations

I added an additional delay on the funk guitar to fill the empty space there, so that's not an additional instrument!

Plugins used:

Logic Space Designer, stock EQ, stock Spread
PA Lindell 254E, Maag MAGNUM-K, Bx_subfilter
Soundtoys: EchoBoy, Devil Loc, PanMan, Primal Tap
Arturia Rev Plate-140
FabFilter Pro Q-3
Audio Assault D-Rez
Seinheiser AMBEO Orbit
Hornet The Normalizer, Tape
Aberrant DSP ShapeShifter
CrispyAudio CrispyTune
McDSP De555
Focusrite Red 2 EQ
Waves API-2500, CLA-76, OneKnob Pumper, CLA-2A, PuigChild
Valhalla Frequency Echo
PSP ClassicQex
TDR Kotelnikov

https://drive.google.com/file/d/1BAeK-G ... sp=sharing

Great song and excellent recording quality. With all these different tracks its was a real fun mixing it. I already skipped some challenges because of bad recordings. I am a mixer, not a fixer.

First of all, I combined all tracks, that were split in many into one track, the Ahh tracks, the Crunch Guitars and so one. In combine process only the pans were reworked, no further processing. The goal was to have less tracks in the final mix session, which important to get better results.
Second, I equalled out the level differences in the lead vocals to get a more consistent level. Further, I did some smooth vocal tuning with the lead vocals.

Since all tracks were recorded well, here was no massive corrections necessary. But, the guitars had to be darker, to give space to the vocals. Some bad frequencies were slightly removed from the lead vocals. Not totally, to keep live to the vocals. The tom tracks were bad numbered, the were not in the order from left to right perspective. I fixed that and did a wide panning. Toms are not drums, but an effect.

Because of the great playing there much not much compressing necessary, just for gluing. Most compressors were in parallel mode. Only the rhodes track, the tremolo effect was to strong for left and right channel. It causes some kind of unrest, so I equalled out the level with a compressor with a dual mono setting. Slightly, just not to have to much movement.

Mostly, I used a standard parametric EQ, a clean standard compressor and a distressor clone plug. For delay I use a D16 Repeater, one of the best and versatile delays. Further Valhalla reverbs and Briscati M7 IRs. The lead vocals got a 8k boost for more air.

Here is my entriy: https://www.dropbox.com/s/xtcmd9uppwygo ... n.wav?dl=0

Hello,

I hope I'm not too late to the party
Thanks to the band and also to the crew here at mix-challenge for this opportunity. I just finished mixing this beautiful song with these amazing vocals.

Since I'm on holiday I'll refrain from posting any technical stuff for now.

Good luck to everyone!

here's my file: https://www.dropbox.com/s/flcwbo192ym1y ... a.wav?dl=0
_

Hi all!

https://drive.google.com/file/d/1R_ojY2 ... sp=sharing

So this is my mix, beeing my first time joining a challenge here!
I really like the way every song and every mix gets great feedback.
I wanna point out a view things I did on the mix. Please feel free to
tell me if I don't document precisely enough.

Being a drummer, I always start with the drums (after I set up all Busses,
basic panning and some levels of course).

I did i little phase alingment first, and turned the panning to the audience perspective.

I use REQ to dip and API 550B to peak Kick in and Kick out.
On the Kick Bus I've got the CLA-3a for something like 3db of GR, into a SSL-E Channelstrip
(EQ into compressor - boosting 6k, dipping .5k and a little bit of extra compression).

I've got basic EQing going on on both Snare tracks, going into an SSL E-Channelstrip on the Bus.

I tried using a sidechain compressor to get rid of a little bit of the Hats
in the OHs (please tell me if you thing I destroyed the OHs more than it helped).

Nothing too fancy on the rest of the drums.

SSL E-Channel on the Drum Bus, boosting treble, into a Abbey Road Saturator,
for even more excitement.
In this case, I have no parallel compression on the drum bus because I
decided to do it on the mix bus after trying it out in different ways.

I also tried out different ways routing all the guitars in busses
in different ways. I haven't done a lot on the guitars - only basic EQing (API 550s) for treble
and dipping low mids. Sending it into the Room FX Bus.

I set up a Room FX Channel with the IR-L Reverb, pretending beein in Hamon Studios.

There is a doubler on the low LV, getting it out of the center a little bit.

I dipped 2k and 3.8k on LV, going into a RVox (Waves) with a maximum of 6-7 of GR.
After the RVox, if go directly into the H-Comp with fast attack, fast release and
high Ratio. Even if we've got the crunsh channel, i like the Abbey Road Saturator for
a little bit of saturation for the mids. For the sparkle, the end of my Vocal
signal chain in the puig tec EQ boosting at 16k. I routed the LV and the Crunsh Channal into
a bus, compressing it just a little but together.
Sending it into the Abbey Road Chambers and H-Delay, with the right channel phase flipped.

I haven't done any big Editing stuff besides cutting out some noice of some channels (especially vocals).

So all in all, I tried doin' not too much because I think it's a well arranged song and I wanted to appreciate that,
but I hope that I haven't done too little details yet. I think I'm now at the point where I woult like to
get feedback from a client (not beeing a professional mixing engineer, I have to add).

Thanks for getting the chance to mix this song!
Again, feel free to ask questions for more deatails.

A friendly reminder:
We're in the final 24 hours to submit your mix.


Please also don't forget the Songwriting Competition.

Hello, here is my submission for MC067. I really liked this song, and thought the vocal performance was great. Had fun working on it too, hope you like my mix.

I applied some EQ (ProQ2) and minimal compression (Waves, Massey, Izotope) where needed on specific tracks. I performed some additional EQ on the bus groups, and a fair amount of compression at this stage. Added some echo/delay (Tape Echo, Soundtoys) to a few of the guitar tracks, and some saturation (Soundtoys) here and there. Harmonizer (Eventide) on the "Ahh", and 2 different reverbs (Seventh Heaven for vocals, and Little Plate for everything else). SSL comp on the 2 bus, and some dynamic eq (Izotope) to finish it off.

WAV. - https://drive.google.com/file/d/1UdlJQ3 ... sp=sharing

MP3 -https://drive.google.com/file/d/1AFiyYC ... sp=sharing

Best,

SNarowitz

Nice Tune!
Hello Everyone,
Here is my approach to mixing this song. First I listen to all the songs by Paint Me In Colour along with the other artists that they liked. That gave me the direction so I used plugin channel strips from Waves Abbey Road Collection to get the drums and guitars dialed in. I did us some native SSL Plugins for vocals along with tape machines by Slate Digital. I was going for a upfront mix so the use of effects was very lite use of delays and verbs. I made the toms huge sounding using Waves SSL channel strips E and G series depending on tone. I also punched up the bass with Slate Virtual Rack with gave it some bite and depth to line up with the kick drum. Thank you for providing such a great opportunity to work with some amazing talents.
https://www.dropbox.com/s/kdkhyhx4fcs8 ... e.wav?dl=0

Hi Everybody,

the mix: https://drive.google.com/file/d/1s_puNM ... sp=sharing

Process from general to particular:

Mixed In REAPER 6.12c

Master Buss:
Waves NLS Buss (SSL)
Waves SSL Bus Comp (1~2 db comp)
Waves J37 Sim tape
Fab Filter Pro L-2 (No gain add. just for safe no-clipping)

Rear Bus:
Bass, guit, keys and Voice Busses routed to this.
Waves NLS Buss (SSL) same settings from Master Buss
Waves CLA-76 Compressor “Bluey Revision”
Waves PuigTec MEQ5 (300Hz & 1Khz add)

Master Buss and Rear Buss are summed in a final “print” Buss

Drum Buss:
Waves CLA-76 (Two instances, for multi mono setup)
Voice of snow (a “weird” exciter)
Waves NLS Channel (EMI)

Drum Comp Buss: This buss is routed to drum buss.
Here come the signal from kick and snare busses for parallel compression
Waves NLS Channel (Neve)
Waves H-comp

Cymbals Buss: (Hi-hat, Overheads) This buss is routed to drum buss.
Waves NLS Channel (Neve)

Room Buss: (All Room mic Channels) This buss is routed to drum buss.
Waves NLS Channel (Neve)

Toms Buss: This buss is routed to drum buss.
Waves NLS Channel (EMI)
Waves L1 Limiter

Snare Buss: Snare Top & Bottom channels. This buss is routed to drum buss.
Waves CLA MixHub
Waves CLA-76 (All buttons mode)
Waves Studio Rack (for some mid range enhacement with saturation stomp plugin in a parallel mode)
Waves L1 Limiter
Waves NLS Channel (Neve)

Kick Buss: Kick in & out channels. This buss is routed to drum buss.
Waves NLS Channel (EMI)
Waves Maxx Bass (for some mid- range prescence)
Waves TRans X Multi
Waves L1 Limiter

Bass Buss:
Waves NLS Channel (EMI)

Guits Buss:
TDR Nova: Dynamic Eq in the range of 200-250 Hz
Waves Puigchild 670, Multi-mono operation
Waves NLS Channel (SSL)

Keys Buss:
TDR Nova: Dynamic Eq in the range of 300-500 Hz
Acustica TAN Compressor
Waves NLS Channel (SSL)

Voice Buss:
TDR Nova: Dynamic Eq in the range of 800-1600 Hz
Acustica TAN Compressor
Waves NLS Channel (SSL)

All individual channels that going to previous busses are inserted with Waves CLA mixhub (except for kick and snare channels)
Mostly for Hi-pass, lo-pass, some subtle eq and compression

Especial Cases:

hi-hat:
IVGI2: saturation for soft hi frecuency range

Vrse Cab 1 & 2:
Waves Berzerk Distortion inside CLA Mixhub for tone-saturation

Crunch 1 & 2:
Waves Scheps omni channel inside CLA mix hub for saturation pre.

Lead Vocal:
is Divided en two different channels for Voice Soft/voice loud use.
Waves Scheps omni channel inside CLA mix hub for deesser proccesing and complementary compression.

All voices inserted with TDR Nova for dynamic eq in mid-high/high frecuency range.

FX:

Drums: Ambient taked from room channels.
Snare: Waves Doubler/Waves H-Reverb
Gts: all guits to a room rvb (Waves Reverb)
Keys: All Keys to a Hall-kind Rvb (Dragonfly Reverb)
Voices:
Lead voice to a Plate Rvb, delay
Bckgrnd Voices to hall Rvb.

And… Tons of automation.

First time doing a mix competition. I'd like to thank Paint Me In Colour for the fun track to mix.

https://www.dropbox.com/s/ql3nw2lvgp694 ... r.wav?dl=0

Miscellaneous Notes:

- Mixed in Ableton Live 9 and I used that Anteros track as my primary mix reference.

- On the downtuned vocal I applied the Stereo Tune modulation effect in Guitar Rig 5 to widen it and separate it from the lead and other vocals. I also used Ableton's stock Vocoder to give it some weirdness, and distorted the crap out of it with Ohmforce's Ohmicide to get it to cut through the mix a bit more. I like that it sounds more monstery with all those effects.

- Lots of effects automation particularly on the vocals.

- Primary plugins used were PSP Old Timer, Cytomic The Glue, Fab Filter Pro Q2, PSP Noble Q, Valhalla Room, and a smörgåsbord of Ableton stock plugs.

- Nothing used on the master bus.