Mix Challenge

Hello everybody !
Here's my go:
WAV: https://drive.google.com/open?id=1G31_h ... kAn3ghcuaf
MP3: https://drive.google.com/open?id=1pTCeE ... 84O_PeWYAB

What i did ?
DRUMS bus - Thrillseeker VBL for some body and Izotope Neutrino
KICK - duplicated the track, first track with some Decapitator for kick definition, second with Thrillseeker XTC and SK10 for that "boom". As group: Focusrite Scarlett Gate, CLA-76 comp, Scheps 73 EQ and u-he Protoverb.
SNARE - As group - CLA Drums with EQ, comp and gate. Decapitator, Hornet Drum Shaper and u-he Protoverb
Toms tracks used as "room" with CLA Drums, Floor toom panned to center.
Overheads - TB Sibilance de-esser, TG12345 console and Spifish de-esser

BASS - CLA-76 comp blue, Audio Assault Bass Grinder amp sim, ThrillseekerXTC for bass presence, C4 multiband com for more clarity, Scheps 73 EQ (HiPass 80 Hz), Trackspacer triggered by Kick (kind of ducking), Neutrino

GUITARS -
ambient track not used
Guitar extra and SM75 panned hard left and right.
Guitar extra warm in center with Voxengo Stereo Touch to get the space
Guitar bus - CLA Guitars for some more clear sound, Slick HDR multi comp for more low deatails, Neutrino

VOCALS -
all vocals with Focusrite Red 2 EQ and CLA-76 comp blue
Rich vox and Chris Chorus tracks with Voxengo Stereo Touch
Vocals bus - a bit of Decapitator distortion and Neutrino

Fun stuff !

Here are mine:
mp3: https://1drv.ms/u/s!AqpB-RLndYJrias6FseYD6ielW0YzA
wav: https://1drv.ms/u/s!AqpB-RLndYJrias7YD3D33oiRti0Zw

Fun song. My wife is complaining that she can't get it out of her head, lol.

I've never mixed punk before so this was an interesting experience. I tried to go for a loud almost harsh sound. There is a lot of eq on this one. I also tried using console 1's British Class A desk to give it more of a punk feel. The model felt limiting but I liked the sound for this song, the compressor in the BCA model is....different... very interesting release. I did struggle with if I should keep the vocals in the beginning and the middle. I think it keeps the punk vibe better if they are kept but the description seemed to want those out so I didn't keep them. If I get to round two and the owner is ok with it I'd like to put them back in. For the vocals I tried to keep all of them loud and upfront like the group was all right up at their mics. I used an ACME Opticom XLA-3 pushed pretty hard on the vocals. There is a little bit of saturation on the bass but otherwise I used mostly eq, compression, a few slap delays, and some reverb.

Hope everyone likes the mix.

Hello!

All tracks are cleaned with cuts. Voices are compressed and high pass filtered. Also a reverb. Kick and snare are added with my own samples. On the kick only one EQ with lowering of the lower mids and raising of the upper mids. On the snare an EQ with upper midrange boost. Nothing on toms, they act as space/dirt. On overheads an EQ with high boost. Room reverb on whole kit. Bass is reamped and compressed. All guitars go into a bus channel. On the guitar bus an exciter and highpass filter. Bass and guitars go into an ambient reverb. Only a tape machine on the master channel.

Thank you

MP3 https://dl.dropbox.com/s/vplw7jmo21bm4s ... B.mp3?dl=0

FLAC https://www.dropbox.com/s/pwp8qx93hlam0 ... .flac?dl=0

Here we go. Never done this before.

mp3: https://www.dropbox.com/s/3a8ovyco3psr5 ... a.mp3?dl=0
wav: https://www.dropbox.com/s/j22pexzrggdql ... a.wav?dl=0

Notes:
Well, nothing really. I just don't know what I'm doing really so some eq, compression, a little delay on vocals here and there. I did thicken the vocals a little with Boz ProVocative. I wanted to chop the vocals so they were a bit more in time but wasn't sure if that was allowed. First timer, sorry if I broke any rules.

Hello. I will participate this time as well.

WAV: http://colabo-share.s3-ap-northeast-1.a ... ruhitp.wav
MP3: http://colabo-share.s3-ap-northeast-1.a ... ruhitp.mp3

• About drum mix
  I am making sounds based on the garage rock sound.
  Each part of the drums is making sound with the SSL 4000 channel strip plug-in.
  For each sound source except kick, we add a little reverb sound with Stone Voices's Ambient Reverb plug-in.
  The reverberation tone is short, making Early-Refrection prominent.

• kick
  The peak is suppressed with the compressor, and the wraparound of the extra sound is cut by the expander.
  EQ cuts around 200 Hz about 3 db, shelving EQ to boost from 100 Hz down to 6 db.
  To this, subharmonics of 30 Hz, 50 Hz, 60 Hz, 100 Hz are added by the MH Thump plug-in,
  I am making only a bass sound source.
  I use Kicktrigger.wav for kick attack sound. The attack sound was emphasized with a compressor.
  EQ cuts 6 db around 300 Hz.

• Snare drum
  Snaretop.wav emphasizes the attack sound with the compressor and uses the expander to cut off the wraparound
  of the extra sound.
  We are boosting around 1.4 Khz and 450 hz.
  HPF cuts around 40 Hz.
  Snarebottom.wav suppresses the peak with the compressor and uses the expander to cut out the excessive sound
  wraparound.
  It boosts a little around 2.6 Khz and 1.2 Khz.

• TomTom
  Extra resonance sound is cut by HPF. A few peaks are suppressed with the compressor, and the wraparound of the
  cymbal sound by the expander
  I suppress it.
  In accordance with the size of Tam, EQ cuts the harsh resonance sound, leaving only the part that can be heard
  clearly.

• OverHeads
  OverHeads uses the SSL 4000 G channel strip plug-in.
  Use a de-esser to suppress harsh sounds in the high range.
  It cuts around 700 hz about 6 db, and shelving EQ cuts from around 200 hz to 4 db downward.
  Finally adding a flanger.

• About bass mix
  The base is overlapping two identical sounds. One uses a distorted amp simulator and the other uses a compressor
  And making distortion and making sound.

• About guitar mix
  We treat four sound sources as one sound source. PAN is not set for each sound source.
  Delay plug-in with saturation function, 16-beat delay sound is added.
  Finally, spread the sound image in the Ozone Imager comes in as the presence of the guitar becomes larger.

• GuitarSM 57.wav uses the Pultec Passive EQ plug-in to emphasize the thickness of sounds peculiar to SM 57.

• In GuitarEWarm.wav, we use the Pultec Passive EQ plug-in to emphasize low frequencies.

• GuitarA 3000.wav uses the Pultec Passive EQ plug-in to emphasize the mids and highs.

• In GuitarExtra.wav, using the SSL 4000E plug-in, the sound quality is almost flat in terms of frequency,
  The attack sound is emphasized with a compressor.

• About mix bus of musical instruments
  Drums + Bass, Guitar Each mix bus uses a tape simulator plug-in.
  All instrument mix bus are assign to the stereo mix bus using SSL G - Master Buss Comp.
  SSL G - Master Buss Comp adds about 2 db of compression.

• About vocal mix
  Extra noise is removed as much as possible using expander for each track.
  After that KUASSA basiQ plug-in and Waves CLA 76 Blacky plug-in prepare the sound quality.
  MarkVox.wav, ChrisVerseVox.wav and RichVox.wav are almost from the center,
  ChrisChoVox.wav and RichVox 2. wav are setting the PAN on the left and right.

• MarkVox.wav, ChrisVerseVox.wav, RichVox.wav
  Reverb is not used.
  With the analog delay plug-in, add the effect of Early Refrection and add 4 tap delays with Waves SuperTap 6.

• ChrisChoVox.wav and RichVox 2. wav
  Reverb is not used.
  With the analog delay plug-in, ping-pong delay sound of eighth note is added.

• About vocal mix bus
  I am using the tape simulator plug-in.
  Finally, all the vocals are gathered on a stereo mix bus and compression of about 2 db is added using
  SSL G - Master Buss Comp.

What a fun song! I had a blast mixing this.
I used much more saturation than usual on this mix to give it that "dirt" that I think it is worthy of.
Bass - Distortion, EQ, compression and MB compression, reverb, tape machine, multiband (side chain from kick on low end)
Kick - I used my own kick sample (blended 50%), gate, EQ, tape machine
Snare - MB compressor (used as a gate on only higher frequencies for removing cymbals), my own drum sample (blended 25%), distortion, tape machine, EQ, compression, reverb
I used the tom mics as a room track and compressed and EQed it
Overheads - EQ, compression, tape machine
Drum bus - compression, reverb, parallel compression
Guitars - reverb
Guitar Bus - EQ, compression, tape machine
Vocals - 2 compressors, limiter, de-esser
Vocal bus - EQ, limiter, distortion, tape machine
Vocal sends to reverb and delay
analog console modulation and tape machine on master buss

WAV - https://drive.google.com/open?id=1PbdOb ... XQ2O50jLdf
MP3 - https://drive.google.com/open?id=15nPDj ... iNEHsucLou

Hi Richard, Hi everyone,

excellent title in the register "punk" to mix. For me this music is above all energetic and powerful and
so in my mix it is about keeping these characteristics.
The tracks of vocals and guitars sound pretty rough and I left them this character: simple delay on the guitars,
nothing on the voices except the track of "Oh" that I have orbited in another world
The bass was passed in the plugin "Vandal" to have a very present sound
The drums required a lot of work: a single bass drum track (only one !))
on which the equalization has been fairly consistent:
+14 dB 5.04 Khz HI-Q 0.67
+ 8 dB 1.26 Khz HM-Q 1.20
+10 dB 74 Hz LM-Q 1.71
+2 dB 44 Hz LO-Q 1.41
on the snare drum, I mixed the microphone from the top with the one from the bottom by
passing everything in the circuit of the plugin "Vandal" to give a "big grain"
+12 dB 3.56Khz HM-Q: 1.20
for O.H the equalization is as follows:
+8 dB 7.13 Hkz HI-Q 0.56
-18 dB 31 Hz LM-Q 0.33

So, let's stay PUNK! NK

Franz

here is my mix :

https://www.dropbox.com/s/rjgypp5j4feqz ... v.wav?dl=0

Cheers

Franz

Hey there,

i used the two similar guitars on hard left/right, the two others more in the center.

Actually there is nothing special - but i used a lot of distortion on ..everything. I listened to the strokes first album these days alot and liked overall sound. Its actually hard to emulate this style of record. My second reference was At the drive in, i dont really like the mixes in special - but the energy.
One thing i did on drums was, that i used one Tom-mic as a wurst with heavy compression and resonance EQings. And used the other toms as a hard-panned room with sc-gate to only letting through Snare and kick.

Wav
https://www.dropbox.com/s/7e5x7pd98iooz ... e.wav?dl=0

Mp3
https://www.dropbox.com/s/s9q9nzt8900ui ... e.mp3?dl=0

Hey,

this is my first submission to this site, I hope I've got all the formalities right...

Here are my files:
https://www.dropbox.com/s/oy4sorlax1tc3 ... k.mp3?dl=0

https://www.dropbox.com/s/ieb3r9nwmgybo ... k.wav?dl=0


Mixing Techniques
I tried to keep a punky and grungy sounding vibe, while still achieving some sort of modern technical correctness in terms of eqing, depth and giving every instrument its own space.

I used no editing on the bad drum and vocal-timing and didn't use any samples as the band wanted to just keep it raw.

I used my Console 1 with the British Class A Channelstrip on each channel. Every channel has a low cut and the Neve-style EQ on it. I also used a lot of the drive-knob, which gives a more or less dirty kind of saturation to nearly all signals. Some tracks (snare, kick, bass, vocals) also got the British Class A compressor on them.

Drums: I left out the tom tracks, as there are no toms played and they also didn't give me the kind of dirt or room I wanted. The snare has got a plate on it and the drum bus is sent into an ocean ways studio-room. The drum bus is processed by a distressor and has got a parallel fatso-compression/distortion, which gave me the feel I was aiming for.

Bass: The bass is mainly processed by the Console 1 eq/comp/drive. Additionally I applied a fatso for dirt and a parallel Decapitator-distortion, which I lowcutted at about 400hz to be able to determine how much of the attack will cut through.

Guitars: I used all guitars and panned them, some straight to the sides, the ambient one just a little bit out of my center. They only got some Console 1 eq on them, as well as a comp on the guitar bus. The bus got a little vintage-verb on it.

Vocals: The vocals are separated into verse and chorus, as they were recorded. I mixed the verse more direct and the chorus more ambient, because I liked that in the song-preview. All vocals got eq, comp and a reverb on them. In the chorus I also used a delay for a more ambient and old school kind of sound.

The Mixbus has a light bus compression, an eq for enhancing the highs, a stereo-tool and a tape-plugin on it.

I think that's it!

Cheers, Phil