MIX CHALLENGE - MC043 May 2018 - Winners announced

[Mister Fox]

Hello and welcome to the Mix Challenge 43 - May 2018


This is the introduction post, where we directly link to the challenge corresponding files (source files, submission information, sponsors), start of the evaluation process and the first post for re-submissions for Mix Round 2.



This month, Mix Challenge community regular Jorgeelalto (under his artist name 7th Pyramid) returns and offers us the chance to take a closer look at a Trance/Dance production. The song is called "Veiled Encounters (Original Mix)".

The main twist of the current challenge is pulling off proper time stretching, because the song has a bpm shift from 130bpm to 128bpm - however the production was rendered in 128bpm. Read more about that below, and in the bundled TXTs.



Please take note of the following

• IMPORTANT: It is now mandatory to provide WAV files (FLAC bar minimum on low internet bandwidth), files need to be accessible/downloadable, try to work within suitable work levels, document your edits (as simple or as detailed as you like)
  IMPORTANT: please use the following naming convention: MC000_-_ArtistName_-_TrackName_-_ContestanttName.wav/mp3 and MC000_-_ArtistName_-_TrackName_-_ContestanttName_R2.wav/mp3 for Mix Round 2. The order of the tags might change in upcoming challenges - though this is up for debate
• It is highly encouraged to give feedback to each other, to share tips and tricks. Ideally, this should happen after Mix Round 1 has ended, to not influence each other during the main competition round

Also please take note of the following

• We're desperately looking for new source material for future competitions (Mix Challenge, Mastering Challenge, Remix Challenge). Please follow our official campaign. No new tracks mean no more challenges! Please reach out!
• Social Media accounts can be found via the handles @MixChallenge (Twitter) and MixChallenge (Facebook). Please spread the word!
• if you like what the Mix Challenge (community) has been doing in recent months, please consider supporting us.

This post will be updated with the corresponding links as we progress, and of course the suitable thread headlines. So please watch this spot:


Submission Period: General Information, Source Files, Sponsors
Mix Round 2: Global Feedback and Round 2 Participant Announcement
Results of the Mix Challenge 43: Winners announced

[Mister Fox]

CURRENT CHALLENGE - GENERAL INFORMATION

Time Frame: Tuesday, 01st May 2018 to Monday, 21st May 2018 (21 days)

Challenge submission will end on 21-05-2018, 11:59pm CET/GMT+1 (Germany) - until further notice.

Want to find out if you're still within the deadline, please consult the following options:
The Global Countdown on it's dedicated page or the countdown on the home page. You can also consult the World Clock at the top of the forum or alternatively the following tool - in this case please select "Berlin (Germany)" as location 1, and your location as location 2: Time and Date - World Clock Meeting Planner. We do post reminders via our Twitter account and Facebook page.



Song Provider: 7th Pyramid
Song Name and Length: Veiled Encounters (Original Mix), 5:42min
Song Information: 130-128 BPM / Signature: 4/4, D min
File Format: WAV, 44kHz, 24bit

GENRE: Trance/Dance


Preview of the Song:




A word from the song provider:

This track is composed of two parts:
the first part is Trance, and the second is a mix of Dance/House, inspired by a famous track by Grum.

It's a bit hard to get a good mix of all the keys and strings layerspresent in the House part, so be careful about it. The kick is also a challenge since it's the same for both parts: if we aim for a full Trance kick, it will not fit too well on the House part, and vice versa, so you can really do whatever you want (effects, automation) but keep in mind the kick is a fundamental part of these genres.

The organ bass in that second part is complicated, too, since it has a really characteristic mid frequencies I'd like you to keep in the mix, but it may clash with other mid range sounds. That's why I have added a "Hipassed M1 Bass" track, so you can already start working with those two tracks to get that effect.

The trance part is easier to mix. Still, a good balance of all the stacked percussion hits and loops is fundamental to keep the groove, since they are needed to give a sense of speed in a 128 BPM trancey track like this (trance usually plays between 13X and 140 BPM).

If the "Intro Organ" effect/phrase seems too dry for you, check the "Send Delay" and "Send Reverb" tracks I have included. You can use them as a guideline to check how the sends are automated in the original mix and how they serve as transition tools.



IMPORTANT!

The tracks are exported to 128 BPM. That means when you load them in a project, it has to be set at 128 BPM. Then you can time automate and time stretch the tempo to get the 130 to 128 BPM transition. In my original mix it takes place between the bars 98.1.00 and 114.1.00, and that BPM change is linear.

A few words by the Mix Challenge staff:

Time stretching might be uncharted territory for some. But fear not. A lot of hosts do provide very good time stretching features these days. From ProTools, to Logic, Cubase/Nuendo, Studio One, FL Studio, etc.

I do recommend to dive into your host manual for further info, as each program handles this differently.
<read more about setting things up in the TXT>


A couple of hints on effect usage:

I do recommend to work a lot with automation. Mainly filters, different amounts of reverb/delay, panning (Hi Hats), etc. Use the guide tracks (REVERB and DELAY) not only for further inspiration, but also to recreate the one or another transition effect (listen to the demo mix). But still try to add your own twist to the whole production.

The kick can be shaped with more than just an EQ (hint!), automated even.


Trance is also obnoxiously loud with stabs and breakdowns. So in-your-face compression is no rarity (use on the summing bus still needs to be tasteful / artistic however! Don't push the perceived loudness!). You might need to tame the low frequency range however (multiband compression and/or so called "ducking" techniques comes to mind).

Else - be creative.

Please also consult the TXT files that are bundled in the source files package below. There you can find more information about the individual files and changes to the time signature.

Special Add-On Rules:

• try to create a mix that complements this production (in your own style)
• Clean / Alternative versions can be used if you need more flexibility over a certain sound (if present in this production)
• No rearrangement or pitch shifting of the song structure, with the exception of the following add-on rules
• PRODUCTION RELATED: you need to use time stretching / proper BPM transition
• summing bus processing is allowed, as long as the dynamic range (average signal strength to maximum signal strength) doesn't suffer - use of this method is artistically!
• try to not(!) pre-master the track (please no overuse of mix bus treatment, no loudness adjustments / limiting)

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Source Files:

Main Mix Package - Mirror on the Mix Challenge Homepage (465,15 MB, LZMA compressed, zip)


The provided files were packed as ZIP with LZMA compression.
File size extracted: 4740,37 MB, packed 465,15 MB (ZIP, LZMA)
In order to extract the files, we can recommend these programs:

Macintosh:
The Unarchiver - get it here
Keka (open source) - get it here

Windows:
7zip - Installation / Portable


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Please take note of the official rules - they can be found at the following thread:
Mix Challenge - Official Rules and Guidelines

Please address any OT question in the official Gossip thread:
Mix Challenge - Gossip and Discussion

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SPONSORS (Prizes):

Prizes for Mix Challenge participants:

Note: All licenses are NFR (Not-For-Resale), except where noted.
Changes to available prices on short notice may be possible and will be announced separately.



Acon Digital is kind enough give away a single plugin of winner's choice.
License will turn into NFR
More info on Acon Digital: http://acondigital.com



Black Rooster Audio is kind enough to give away one bundle of all currently available plugins to the winner
License will turn into NFR
More info on Black Rooster Audio: http://blackroosteraudio.com/



Hornet Plugins is kind enough give away one license from the depicted tools (see image) to the winner
License will turn into NFR
More info on Hornet Plugins: http://www.hornetplugins.com



Metric Halo is kind enough to give away a single plugin of winner's choice.
License will turn into NFR
More info about Metric Halo: http://mhsecure.com/metric_halo/



MuTools is kind enough give away one license of MUX Modular 7 of winner's choice (until End of 2018)
License will turn into NFR
More info on MuTools: http://www.mutools.com/



Nyrv Systems offers AGENT incl. all currently available NyrvDevices and free update to at least v1.5 of winner's choice (until further notice)
License will turn into NFR
More info about Nyrv Systems: http://www.nyrvsystems.com/



Tone2 is kind enough to donate either a bundle consisting of AkustiX Enhancer and WarmVerb, or a license of Ultraspace to the winner (until further notice)
License will turn into NFR
More info on Tone2: https://tone2.com



Two Notes Audio Engineering is kind enough to donate one license of Torpedo Wall of Sound III to the winner, loaded with 57 cabinets (equivalent to "Torpedo WoS II") (donation until Spring of 2018)
License will not turn into NFR
More info on Two Notes: http://www.two-notes.com/en/



THANKS FOR THE LICENSE DONATIONS!
And also a thank you to all former contributors as well.

If you want to sponsor content (please have a focus on mix plugins, bundles and the likes), please get in touch with the Mix Challenge staff.

Please spread the word of the challenge on social media.
For example with our dedicated Twitter Account or Facebook Page

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Good luck to all participants.
And most importantly, have fun!

[Waleed Morris]

Hi ,
Plz tell us if there any reference track you prefer or any suggestion !!

[Jorgeelalto]

Well, I didn't use any reference when doing my mix, but I was definitely inspired by Mark Knight (with tracks like Yebisah) and Grum (with this one, The Touch, to which mine is particularly similar). I'd say I sticked more (or so I like to think) with that Mark Knight/Toolroom sound for the piano and stuff but I can't say it's totally the same. Still, with those two references you should be able to get the overall sound I was looking for

[Waleed Morris]

Good to know your thoughts and behind the scene story thanks .

[davidpaulpaige]

hope this is where...
https://www.dropbox.com/sh/kww3hv1sqaw6 ... 9jmla?dl=0

[davidpaulpaige]

It was an awesome time mixing this track. Really lifted my mood when it was finished and I sat back and listened. There were so many great moments I just had to dramatize them all. Great performances and a good clean sound to start with made all the difference in my experience being creative. Hope anyone likes it!
Here’s the link... same as above.
https://www.dropbox.com/sh/kww3hv1sqaw6 ... 9jmla?dl=0

[Mister Fox]

Hi davidpaulpaige,

since you're new here, please refresh your your memory with the existing rule set.

Two things that stand out:
1) part of this game is to document what you did (simply edit your post) - this is mandatory and adds to the learning experience/process
2) your submission is final - no edits, no resubmissions

[Mister Fox]

A friendly reminder:
Including today, 14 days left to submit your edit

[davidpaulpaige]

My apologies, thank you for your patience.
As far a mixing went...
I did the usual gain staging to the main buss. Added a few hardware inserts. Bass a bae 10dc, hiPass pre comp at 40ish, 3-6db and releasing after the kick. I do a multi-buss output to a final 2 buss so the synths went to a tube limiter to smooth them out. I never add distortion of any kind to synths they will do that on their own if everything is right around them. Then there was AUTOMATION. I have learned recently that automation will make a better sounding mix than all the compression in the world.
Then I built a good place for the synths, making some space in the other elements for them to live. I couldn't make up my mind which era they should be in so I put them all in from Moog to Smith.
I had some trouble with the piano as that type of sound haunts me. Imagine if there were a really hi fidelity piano there instead but, I just had to make this work so I envisioned a scenario where we would sail out past the music, like flying. Then we could be whisked bask by the white noise parts and then off to the payout of the final sections.
At first I had the last section sounded like 70's disco which is fine but I def wanted something more like the original mix, a bit crunchy and def modern 3D type of sound.
The original production was well performed and really nice and warm. This is what made all the difference in my experience. I don't remember fixing anything just mixing. IMO that's what helped me be creative and really stretch the boundaries. It's always a pleasure to work with a well crafted track.
Again my apologies.
Here is the link to the mp3 and the wave:
https://www.dropbox.com/sh/kww3hv1sqaw6 ... 9jmla?dl=0