MIX CHALLENGE - MC088 October 2022 - Winners announced

[ThaSome]

Mixed in FL Studio.

The things I've done has been:

Chorus or vintage chorus in most of the melodic stems.

Slight substractive EQ and some reverb in most of the tracks.
And Magnetite as grease for adding 300-500 hz tonality in the harp and in some drums.
https://drive.google.com/file/d/1aK6KeQ ... sp=sharing

Mix 24 bits 48khz
https://drive.google.com/file/d/1R7yscB ... sp=sharing

[alavault]

Hello,
Mix :https://drive.google.com/file/d/1an32Yt ... sp=sharing
***
First mix in Reaper.
Basses : heavy distortion and parallel compression.
Kick, Snare : same as basses
Snare: 1/8 delay for... whatever reason. I felt like it. Also, reverb on snare noise
Hihats: panned and delay to fill the gaps.
Special sub buss : SubsOnly (Airwindows) on a parallel send. Automated for sub punch. Sometimes.
Synths : Volume LFO to simulate sidechain compression. Parallel EQ&Comp.
Lead : distortion, saturation, limiter. Pinned in place.

[LocalMusic]

Hi everyone,

here is my Mix for this months challenge:
https://drive.google.com/file/d/1HRvOdI ... sp=sharing

Very cool song, especially having so many sound layers to choose from, and working with was a lot of fun.
This is what I did to the tracks:

Kick: Processed both Kicks individually using basic EQ and Compression (SSL G-Channel Strip). After that I grouped them together but added no further processing on the sub group bus.

Snare Drum: Same basic processing and sound shaping with SSL G-Channels to both. For the "Snare Noise" I darkened the sound of it, while the "Snare 01" received not only a heavy mid-range-boost, but also a lot of distortion. Compressed them together on their sub group.

Snap: Got rid of some super high-end while boosting some upper mids (2.5kHz) to get the snap sound more focused on where I wanted to place it in the mix. Added some overdrive on top of the EQ to give it some more punch.

Open HiHat: Added some high mids around 7kHz and cut some high end because I thought it was a little to sharp. Then I automated a filter, the pan and the level.

Cloced HiHat: Added a bunch of top end with a shelf.

Bass 1: Basic EQ and Compression, boosting the low end, cutting some 280Hz and boosting around 650Hz a bit. Then used some overdrive to get the final sound.

Bass 2: Cut out the low end to around 90Hz, cut the high to 4kHz while boosting around 8kHz to shape the sound. Then I used a very fast compressor to even out the signal on certain parts of the song.

8ba Piano: Filtered highs and lows to taste, otherwise not much EQ. Just a small broad boost around 800Hz. Used an expander to enhance the rhythm of the piano in an interesting way.

E-Piano: Boost in the low mids / lows around 270Hz and 150Hz to bring out the warmth of the piano. Then I widened the stereo image, mixed in a pitched version of the signal, pitched up py one octave and ducked it with the Kick.

Piano: Used EQ to have the presence and attack of the signal come out to use those in the mix. I also used compression to help the transients come through and some slight tape saturation to round it off.

P8 Synth: EQed out some high end but boosted around 6kHz to focus the sound. Then I compressed it to even the sound out.

Synth 01: Added some mids at 780Hz and high mids around 6.2kHz and compressed it. Then I added some saturation to get some more warmth and grit in the sound and ducked it with the Kick.

Harp & Flute: Used EQ to taste and some light compression. Then I pitched the signal down by an octave and mixed in the pitched signal before applying an autopan plugin.

Lead Synth: Used EQ to bring out the presence and high end in the sound, then I used a chours and delay to give the signal space. Also automated the pan and ducked it with the kick in certain parts.

Used some slight reverb on certain elements and some sub groups for grouped processing, applying compression, further EQ and slight saturation to bring all elements in the mix together.

[patrlord]

Hello everyone

I tried to strike the right balance between creative interpretation and remaining faithful to the original.
I added a couple of short reverse reverbs and wash-outs to smooth transitions between sections. Because there were some groups of layered tracks playing the same notes but with different instruments/soundscapes, I was able to create some interesting variations by changing the relative balance between the layers in those groups. And I used a lot of automation, especially with LP filters.

https://www.dropbox.com/s/naeuaf5hxo659 ... d.wav?dl=0

Overall dynamics
Started the track with lowered LP filter and lower volume for first 16 bars
Then opened up filter and volume over next 32 bars to the Mausynth lead
Then lots of filter automation and washes every 16 bars over the next 64 bars of the lead to create variation
Widened the bass for a change in next 16 bars before closing filters again + gentle washout for the 16 bar outro

I applied hardly any delay or reverb, most of the stems had it already built in, and the staccato rhythms obviated use of delay anyway

Drums - Kicks - To avoid phase issues between the two kicks I suppressed the transient from kick 1 to make room for the shorter more punchy kick 2 + Ableton drum buss to fatten + matched EQ profile to kick in reference track Transa - Supernova. Snares + hats - EQ to tame some of the harsh noise at the top end, stereo widening, drum bus transient shaper on snares for more punch.

Bass - Ensured sub bass was in sweet spot range 40-100 Hz. Cut off <100Hz on the mid range bass. Fast sidechain compression off kicks

Stab rhythm - Cut out low mids and below. Some filtering and volume automation + subtle phaser effects

Synth tracks 01a - 01d - Bandpassed most of them (300 - 5 or 10k) then broadly reduced mids on some of them around the 1k mark to avoid mud in sensitive hearing range. Old synth pad: Kept highs and broad cut to mid around 1k to keep it ethereal

Mausynth lead - Didn't want to change this too much; added tube distortion + subtle wow/flutter effect

I used a stereo width send / return to add microshift-style stereo widening, it is added to the original signal so doesn't introduce big phase issues. Used sparingly on different tracks at different times for variation.

[Mister Fox]

A friendly reminder:
Incl. today, 12 days to submit your mix.



I am doing this reminder early, to reiterate the following:

I have announced this in MC087 already, there is a filename template for a reason. As of MC089 (December, if I can manage to set it up), whoever strays form using that template will be "tagged disqualified" for not adhering to this "minor detail".

It really can't get any easier -- unless there is an OS issue "removing data", then I'd like to know what OS, and what is happening (in this case, send me a PM, please): copy the filename template, paste it on to your filename, replace ForumUsername with your own, done. I will not disqualify users this month, but I will point that out at the end of Mix Round 1 for everyone that deviates (so far, 3 participants). So please take this as a final warning.

I will make an official announcement throughout Calendar Week 41. Plenty of updates in queue, but I have limited time.


Filename template (also see post #01):
MC088__EatMe__Shift__ForumUsername.wav

[rvalle]

Hi fellow mixers

Here's my edit: https://drive.google.com/file/d/1vuYR9w ... sp=sharing

In my opinion, the key in this mix was the automations. Volume, sends to reverbs and delays, dry/wet effects, etc, were automated in certain occasions. As the music is straight and has little variation in the elements, with the automations I tried to present some subtle changes that still reach the listener's perception, besides other more evident interventions, mainly in the transitions.

I felt an old school vibe in this tune and, thus, I tried to saturate some elements a bit. I wanted the result of that mixture of electronic sounds of the earlier samplers and drumboxes with tape recording.

I used all dry stems.

So that's the summary of the mix:

Kick Drums:
Kick 1 - Waves RBass for fattening and bx_cleansweep for high-pass filter automation;
Kick 2 - I split it up on different tracks; at that moment when it is the main track, I used a lot of equalization and saturation to find a balance with kick 1, since in the transition between one and the other, I thought they were quite different; when they act together, I gave preference to kick 1 and used the other one only with a layer; since they are out of phase with each other, I inverted the phase of kick 2 when it acts as a layer.
Some volume automations and edits in the transitions.

Drums:
Closed HiHat: EQ, LFOTool for a volume movement; Soundtoys Microshift for stereo imaging;
Snares were grouped; Snare Noise received only EQ for cleanup in the low region; Snare also had D16 Sigmund for a flip effect on certain parts, automating the dry/wet.
I automated the Open Hat Noise volume because it pushes the rhythm, i.e., the louder it is, the more excitement.
The drum bus was sent to a room reverb.

Bass:
Bass 1: saturation with the Decapitator; bx_stereomaker to create a stereo image in the mids; EQ with a small gain in the 500hz region.
Bass 2: I doubled the stem and, with the Neutron compressor, isolated two regions, one below and one above 415hz. Each region was on its own track. Thus, I was able to work on each of these regions separately. For the lower part, I used only the Wavesfactory Trackspacer to make room for the Bass 1. The interesting thing was the volume automations, which helped to change the groove in certain parts of the song. In the other resulting stem, where the highest region was, I used the free ValhallaSpaceModulator to create a very subtle pitch shift effect. I lowered the volume of this region a bit because I thought it was getting in the way of the melodic elements.
In the bass bus, I saturated it with UAD Oxide Tape and ducked it with LFOTool to make room in the lows for the kicks.

Synths:
E-piano: just EQ to clean up the higher frequencies and the 300hz region;
Lead: EQ for clean and a little gain on the high-mids; moderate saturation with True Iron; a little more aggressive character and compression with the Unfiltered Audio Lo Fi Af; I gave a little volume gain for a more apparent timbre.
I grouped the Piano and Synth on a bus; on both stems, I just equalized for cleanness, plus the LFOTool for a bit of movement; on the bus, I saturated with the Kush Omega TWK.
In another group, I put the Harp&Flute and the Piano-fortissimo because they act together; on the Harp, just EQ and on the Piano-fortissimo I used AudioDamage's excellent Dubstation 2 for a delay effect. On the bus, I also saturated with the Kush Omega TWK.

I printed a mixdown for a little more processing and also for loudness adjustment, as well as to save CPU processing. In this mixdown, I applied iZotope's Neutron compressor to work only in the bass region, below 215hz, in order to better level the punch of the kicks and the basses. I used the AMEK 200 for a subtle, but more colorful equalization, in order to give the last adjustments to the tonal balance. Then I saturated with the PRE module from the Acustica Audio Cream and also with the UAD Oxide, in which I boosted the signal input in order to also get some compression and glue from the tape emulation. Still in the Oxide, I adjusted the volume of the output signal in order to fit it into the loudness required by the rules.

That's it. Many thanks to @EatMe for the opportunity to mix his tune.

[doobop]

Hi !
Instantly from the first listen of the provided mix I noticed that I could not hear some instruments so I decide to make a mix that I could hear all the instruments despite the correct vibe that this genre has to have (loud cymbals etc..)

First I did a rough mix. I did not use the dry tracks.
Then a start doing automation in levels because I had a feeling that this was the only possible way to give some “human feeling” and distinguish well the different parts of the track.

Finally I got into the processing, simple stuff such EQs and Dynamics on every channel and then add some “salt” with Reverbs and a touch of Delay to some tracks.
That’s all, hope you like it!

Link:
https://www.dropbox.com/s/15pcry0jezc5r ... p.wav?dl=0

Cheers,
Doobop

[onecake2]

I have mixed this song using a combination of vintage compressors plugin (1176, la2a and distressor).
I have used FF pro q2 as EQ.

BASS eq comp and side chain
Synths filtered out to make space

delay on HH and reverb on main lead synth



My mix https://1drv.ms/u/s!AgzJUlYVc9qtgY080vA ... w?e=sxiaHr

[ggibson1988]

This one took some thought. What should be the focus? How to create separation? How to create transitions with no clean breaks?

I hope I captured at least some answers to these questions.

All in the box with Pro-Tools
Started with gain staging all tracks, then general balance in mono. Focused all EQ moves on mids first, including filtering output to 250hz - 4.5khz to simulate Auratone 5c monitors. Then balanced highs and lows.

All Drums (Kicks, Snares, Hats and Snaps): EQ only.

Bass 1: EQ, Sans Amp with heavy Pre-Amp and Drive, Side-Chained Dynamic EQ to bring Kicks forward, and low pass filter for a little movement.

Bass 2: Eq, Tape Flanger, Saturation, Side-Chained Dynamic EQ to bring Kicks forward, Automated Frequency Filter
and Automated Volume.

SY77_8ba_piano & Superwave_p8_synth: EQ, Tube Saturation for warmth, Automated Ring Mod (2khz - 10khz) for movement.

Synth 1 & E-Piano: EQ, Tube Saturation, Automated Frequency Filter

piano-fortissimo & harp&flute: EQ, Tube Saturation, Dotted 8th Delay.

MauSynth1_lead: EQ, 1176 and LA2A Compression. Send to Verb Bus.

Drum bus: Additional EQ, Send to Delay and Verb Bus’

Bass Bus: Additional EQ, 1176 and LA2A Compression, Send to Delay and Verb Bus’

Synth Bus: Additional EQ, Sans Amp for more warmth, Send to Delay and Verb Bus’

Delay bus: 1/8, 1/4, and 1/2 note delays. Send to Verb Bus.

Verb Bus: Small Room, Large Room and Medium Plate.


https://drive.google.com/file/d/1y7HVZg ... sp=sharing

[scottfitz]

Hi all,
are there any rules against using an LFO to shape the bassline into different rhythms?
Cheers, loving everyone's mixes so far, such a great track