MIX CHALLENGE - MC043 May 2018 - Winners announced

[MOA22]

The tempo is constant

[Nonlinear]

I would not automate the tempo on the mix

The "CURRENT CHALLENGE - GENERAL INFORMATION" seems to indicate that you WANT the tempo changed: "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." Mr. Fox follows by saying that most DAWs can do time stretching.

since the stems already have the tempo transition integrated.

No they don't. They do not sync with the demo mix - that's why I was asking. The stems are straight bpm while the demo mix transitions between 130bpm and 127bpm (not 128 as stated).

This tempo change CAN be accomplished by tempo mapping the demo mix and applying corresponding time stretching to the new mix - is that what you want? Seems I'm the only one asking about this so it's not clear.

Can someone clarify if this is a Mix Challenge requirement?

[Dwic]

For tempo, as I understood it, the stems are rendered at a constant 128 bpm and for the mix the tempo transitions from 130 to 128. I accomplished this in reaper just by automating the tempo in a session that I imported my final, 128 bpm mix into. Reaper allows you to timestretch using tempo changes.

Ending up with a track with variable tempo.

I chose to do it this way to reduce artifacts from timestretching and to make using time-based effects easier.

[Dodgingrain]

I imported at 128. Time stretched the trance part up to 130 which was easy. The original mix isn't a linear transition between 130 and 128. I didn't bother to figure out what the original was as the instructions were for a 130 to 128 linear transition. I agree, not an ideal process as it does create artifacts but the goal is to work within the clients restrictions while minimizing the downsides.

[Jorgeelalto]

Ooops, sorry guys. I need to sleep a bit more, you are right, you need to automate the transition then.

[MOA22]

So I need to edit my already provided mix...

[MOA22]

Will not have the Time to tweak, Jorgelaato, do what you
have to when you ll wear the judge dress.

[Jorgeelalto]

Don't worry, I will take that into account.

[Nonlinear]

mp3: https://drive.google.com/file/d/1LufNrg ... sp=sharing
wave: https://drive.google.com/file/d/1xCoRcp ... sp=sharing

This is the first project I've ever mixed in Reaper. Coming from 18 years on Cubase it was a little bit of a challenge - especially the tempo mapping - but it worked out well.

I used a lot of pan automation and echos to keep things moving and used some automated EQ on the Trance Bass to add some motion as well.

I didn't want to try and re-create the pumping effect in the transition section so I took a different approach that I think works for the song.

It was a challenge to keep levels up without using a limiter but I did use some parallel buss compression and compressors on individual tracks. I think with some mastering finesse and limiter this could easily reach "EDM levels".

Cool and interesting tune. Well arranged. Thank you for sharing your tracks!

[Piranha]

Cool tune man, it sounded good to start with.
I'm linking the audio file for now, tomorrow I'll updrate the post (or write e new one) with some kind of description of the mixing work I've done (description follows the links below).
WAV:
https://www.dropbox.com/s/3szn8kj04eolp ... a.wav?dl=0
MP3:
https://www.dropbox.com/s/uk4vp9yza5zyw ... a.mp3?dl=0

Because of the large (at least for me) track count, the first thing after gain staging, was to group similar tracks, namely snare and hats and, after reaching a good volume balance, process the stereo pair.
Only most important tracks where compressed, and every track was equalized to maximize the energy in his frequency range and maybe for a more pleasing sound, like smoother treble and fatter lows. Main eq where IK EQ81 (Neve clone), Overloud EQ550 (thanks for the freebie!) and ReaEq.
Then a couple of side-chained compressor the give a little movement to the track, some automation when needed and a couple of verbs, huge ambience and a room, and a delay.
There was also some creative use of saturation.
On the master just some low-treble compression to have a more even response during the song.