KVR MIX CHALLENGE - MC03 August 2014 - Voting period has ended, Winners announced (pg 17)
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- KVRAF
- 16399 posts since 22 Nov, 2000 from Southern California
Did everyone see that u-he is a sponsor this month? Compyfox added it to his first post.
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- KVRist
- 228 posts since 23 Aug, 2013 from berlin
Forgive my foolishness--I've read seemingly everywhere and am too simple to find the link to submit--assistance please?
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- KVRAF
- 16399 posts since 22 Nov, 2000 from Southern California
Jimmy!!!
Please upload your mix to Soundcloud or Dropbox paste the link here so that we can preview it. Also, make the wav file downloadable, we'll download it and add it to our Soundcloud playlist when it's time to vote.
Remember to only submit your mix when it's 100% complete. We don't allow revisions and the first version you upload is the version that's going to be in the final Soundcloud playlist.
Please upload your mix to Soundcloud or Dropbox paste the link here so that we can preview it. Also, make the wav file downloadable, we'll download it and add it to our Soundcloud playlist when it's time to vote.
Remember to only submit your mix when it's 100% complete. We don't allow revisions and the first version you upload is the version that's going to be in the final Soundcloud playlist.
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- KVRist
- 228 posts since 23 Aug, 2013 from berlin
Ok thanks!
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- KVRAF
- Topic Starter
- 14658 posts since 19 Oct, 2003 from Berlin, Germany
Hi Jimmy, welcome to KVR. I think Uncle E already hooked you up with the files. Else, there is an informative post on =http://www.kvraudio.com/forum/viewtopi ... 7225page 1 what the main focus of this challenge is.
A dive into the rules might also help. Especially the ones regarding entrant submissions.
The WAV files are needed for a Loudness Normalization process, quick analysis and later uploading it to a global SoundCloud folder. The loudness normalization is there to offer a more objective judgement over the production. Especially if you worked at a different reference level, or people tried to pre-master things already (not part of the game!).
Else, have fun and good luck.
With that said - 7 days left until the deadline. No submissions yet.
I see that as a good thing and kind of expect the main submissions around Wednesday to Friday.
A dive into the rules might also help. Especially the ones regarding entrant submissions.
The WAV files are needed for a Loudness Normalization process, quick analysis and later uploading it to a global SoundCloud folder. The loudness normalization is there to offer a more objective judgement over the production. Especially if you worked at a different reference level, or people tried to pre-master things already (not part of the game!).
Else, have fun and good luck.
With that said - 7 days left until the deadline. No submissions yet.
I see that as a good thing and kind of expect the main submissions around Wednesday to Friday.
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- KVRian
- 628 posts since 5 Mar, 2011 from Austria
Hi all,
It seems, that I am again the first who will post his mix here. I do not have the feel that I rushed through this mix. Maybe I started earlier.
Here are the files:
MP3 https://dl.dropboxusercontent.com/u/717 ... otonic.mp3
WAV https://dl.dropboxusercontent.com/u/717 ... otonic.wav
And here are the notes:
What I used - except the Uhbik-A reverb, all other tools are only freeware.
Drums:
I created a very small and dark room reverb for the drums.
Grouped and heavy parallel compression with dIM_sixtyfive_a_int. No reverb on the group.
Kick – no EQ, no compressor, only a tiny bit of reverb
Snare – EQ boost 5dB at 180Hz and 4dB high shelf above 2.5kHz. Classic compressor to make it thicker. A good amount of reverb.
Claps – Low cut below 250Hz and 5.5dB boost at 6kHz. A good amount of the drum reverb and some longer reverb, which I made for the pads.
Toms – a 3dB boost at 100, 300 and 400Hz for the 3 toms, always a low shelf below and drum reverb
Hihat closed - Low shelf below 1kHz and drum reverb
Hihat open – Low shelf below 500Hz and 4dB boost at 3.7kHz, drum reverb
Crash – low shelf below 500Hz and 4dB boost at 3.2kHz, drum reverb and widened the stereo with the MidSideMangler
Percussion – MidSideMangler to narrow the stereo field a bit, low shelf below 250Hz, boost 3.6 dB at 1.7kHz.
Bass – ATKSD1 for some saturation to get more dirt, reduced -5dB at 500Hz to make space for voice and pads, high shelf 3dB above 3kHz.
Plucks – low shelf below 200Hz, boost 6.5db at 7.5kHz, no additional reverb, because it is already in the WAV-file.
Keys – high shelf of 6 dB above 2.5kHz. MidSideMangler to narrow the stereo field a bit, pad-reverb
Pad Deep - MidSideMangler to narrow the stereo field close to mono, no EQ, no reverb
Pad – GStereo to mono below 300Hz and to widen to 130% above 2kHz, cut -4dB at 313Hz to make space for voice, boost 4.5dB at 3.2kHz, pad-reverb
Hit – low shelf below 200Hz and 5dB boost at 1.3kHz, no reverb
Transition 1 - GStereo to mono below 400Hz and to widen to 130% above 2kHz, boost 6dB at 3.2kHz, drum and pad reverb used
Rev Cymbal – low shelf below 1kHz, boost 4dB at 4.3kHz, drum reverb used
Slowing LFO - MidSideMangler to widen the stereo field, Ping pong delay with IxoxDelay, low shelf below 200Hz, boost 3.5dB at 2.5kHz, pad reverb used
Rev Voice – boost 5dB at 2kHz, drum and pad-reverb used
Lead voice – Melodyne for some small corrections in pitch and timing, TDRFeedbackcompressor, Monodelay (Cubase), low shelf below 160Hz, high shelf 7.5dB above 780Hz, long voice reverb
Ohhs – Gate (there are some hard begins!), dIM_sixtyfive_a_int compressor, low shelf below 335Hz, highshelf 9dB above 880Hz, voice reverb
Ohhs delay track – a copy of the above track, deleted everything except “lost”, no EQ, NastyDLA, voice reverb
Doubling – only used at the end of the lead track, no EQ, voice reverb
Group for the voices – TDRFeedbackcompressor, high shelf of 4dB above 1.6kHz, Nova67P as de-esser (great new and free dynamic EQ/Compressor from the KVRDC14)
Stereo-Master:
MQ57 filter for final sound shaping
TDRFeedbackcompressor
GClip to cut some peaks
The Span Analyser, StereoChannel and TT Dynamic Range Meter for control.
Looking forward to all other mixes!
It seems, that I am again the first who will post his mix here. I do not have the feel that I rushed through this mix. Maybe I started earlier.
Here are the files:
MP3 https://dl.dropboxusercontent.com/u/717 ... otonic.mp3
WAV https://dl.dropboxusercontent.com/u/717 ... otonic.wav
And here are the notes:
What I used - except the Uhbik-A reverb, all other tools are only freeware.
Drums:
I created a very small and dark room reverb for the drums.
Grouped and heavy parallel compression with dIM_sixtyfive_a_int. No reverb on the group.
Kick – no EQ, no compressor, only a tiny bit of reverb
Snare – EQ boost 5dB at 180Hz and 4dB high shelf above 2.5kHz. Classic compressor to make it thicker. A good amount of reverb.
Claps – Low cut below 250Hz and 5.5dB boost at 6kHz. A good amount of the drum reverb and some longer reverb, which I made for the pads.
Toms – a 3dB boost at 100, 300 and 400Hz for the 3 toms, always a low shelf below and drum reverb
Hihat closed - Low shelf below 1kHz and drum reverb
Hihat open – Low shelf below 500Hz and 4dB boost at 3.7kHz, drum reverb
Crash – low shelf below 500Hz and 4dB boost at 3.2kHz, drum reverb and widened the stereo with the MidSideMangler
Percussion – MidSideMangler to narrow the stereo field a bit, low shelf below 250Hz, boost 3.6 dB at 1.7kHz.
Bass – ATKSD1 for some saturation to get more dirt, reduced -5dB at 500Hz to make space for voice and pads, high shelf 3dB above 3kHz.
Plucks – low shelf below 200Hz, boost 6.5db at 7.5kHz, no additional reverb, because it is already in the WAV-file.
Keys – high shelf of 6 dB above 2.5kHz. MidSideMangler to narrow the stereo field a bit, pad-reverb
Pad Deep - MidSideMangler to narrow the stereo field close to mono, no EQ, no reverb
Pad – GStereo to mono below 300Hz and to widen to 130% above 2kHz, cut -4dB at 313Hz to make space for voice, boost 4.5dB at 3.2kHz, pad-reverb
Hit – low shelf below 200Hz and 5dB boost at 1.3kHz, no reverb
Transition 1 - GStereo to mono below 400Hz and to widen to 130% above 2kHz, boost 6dB at 3.2kHz, drum and pad reverb used
Rev Cymbal – low shelf below 1kHz, boost 4dB at 4.3kHz, drum reverb used
Slowing LFO - MidSideMangler to widen the stereo field, Ping pong delay with IxoxDelay, low shelf below 200Hz, boost 3.5dB at 2.5kHz, pad reverb used
Rev Voice – boost 5dB at 2kHz, drum and pad-reverb used
Lead voice – Melodyne for some small corrections in pitch and timing, TDRFeedbackcompressor, Monodelay (Cubase), low shelf below 160Hz, high shelf 7.5dB above 780Hz, long voice reverb
Ohhs – Gate (there are some hard begins!), dIM_sixtyfive_a_int compressor, low shelf below 335Hz, highshelf 9dB above 880Hz, voice reverb
Ohhs delay track – a copy of the above track, deleted everything except “lost”, no EQ, NastyDLA, voice reverb
Doubling – only used at the end of the lead track, no EQ, voice reverb
Group for the voices – TDRFeedbackcompressor, high shelf of 4dB above 1.6kHz, Nova67P as de-esser (great new and free dynamic EQ/Compressor from the KVRDC14)
Stereo-Master:
MQ57 filter for final sound shaping
TDRFeedbackcompressor
GClip to cut some peaks
The Span Analyser, StereoChannel and TT Dynamic Range Meter for control.
Looking forward to all other mixes!
soundcloud.com/photonic-1
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- KVRAF
- 16399 posts since 22 Nov, 2000 from Southern California
Sweet delays on the vocals! I'm absolutely loving what you did with the extra vocals at the end! 
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- KVRian
- 628 posts since 5 Mar, 2011 from Austria
Thanx, glad you likte itUncle E wrote:Sweet delays on the vocals! I'm absolutely loving what you did with the extra vocals at the end!
soundcloud.com/photonic-1
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- KVRAF
- 16399 posts since 22 Nov, 2000 from Southern California
You can pitch shift it.camsr wrote:The chosen kick drum sample for this track does not fit very well. Wrong pitch IMO, sounds too boxy.
I already figured it out, but I will withhold until my submission. -
- KVRAF
- Topic Starter
- 14658 posts since 19 Oct, 2003 from Berlin, Germany
No drastic sound design!
At least IMO.
Can't we just focus on the production for once and not go batsh*t crazy? This track is great to begin with.
I mean... this is what an engineer is supposed to do in the first place:
- you're a silent observer
- you enhance the track "as is" while still being creative in a subtle way but let the "main creativity" mostly be handled by the producer
- you built upon these ideas, but keep it tasteful (yes, I know that the lines blur these days!)
- you're fixing flaws that you think might need a fix, but these fixes should be barely noticeable (adding a "rhythmic gate" to a pad, just you think it "fixes" anything is IMO not fixing - that's adding to the production
This is not a remix challenge - this is a mix challenge.
I think the rules were fairly set on page 1 and in the "rule book".
With that said:
5 days left, ladies and gentlemen!
At least IMO.
Can't we just focus on the production for once and not go batsh*t crazy? This track is great to begin with.
I mean... this is what an engineer is supposed to do in the first place:
- you're a silent observer
- you enhance the track "as is" while still being creative in a subtle way but let the "main creativity" mostly be handled by the producer
- you built upon these ideas, but keep it tasteful (yes, I know that the lines blur these days!)
- you're fixing flaws that you think might need a fix, but these fixes should be barely noticeable (adding a "rhythmic gate" to a pad, just you think it "fixes" anything is IMO not fixing - that's adding to the production
This is not a remix challenge - this is a mix challenge.
I think the rules were fairly set on page 1 and in the "rule book".
With that said:
5 days left, ladies and gentlemen!
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- KVRAF
- 16399 posts since 22 Nov, 2000 from Southern California
No rhythmic gates.camsr wrote:What's the rule on rhythmic gates?
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- KVRist
- 46 posts since 31 Oct, 2012
Here is my submission. Project was mixed in Cubase 7.5 using primarily the FabFilter plugins, a few stock cubase plugins, and camelcrusher on percussion
edit: It was brought to my attention that I cut the end too short & was asked to re-upload with 15 seconds or so added, here's the fix- i kept the original to ensure nothing was changed-
MP3- https://www.dropbox.com/s/mmxir94g0a6f6 ... 282%29.mp3
WAV- https://www.dropbox.com/s/dpzgf8pk3rb2x ... 282%29.wav
Original entry:
Summary:
Kick- I simply Compressed & EQ'd the low end, bringing out the punch and bass.
Toms- Simply EQing and compression. Cutting the sub/low end to prevent any sort of conflicting basses
Keys, plucks & pad - EQ & Compression again. EQing the top end with a high shelf to bring up the highs, providing a more, crisp sound. Light compression after reverb & delay to bring out the reverb and delay more while not taking away from the overall sound.
Pad deep & bass - brought up the lows a bit. The pad bass had some really negative correlation so I fixed that with a stereo tool
Hit - I literally just lowered the volume. Seemed to have enough effects in itself.
The percussion was more or less the same for each - some EQing based on which it was, and a camel crusher on top. I love camel crusher on percussion because the compressor + built in limiter do wonders. They were all passed to the same reverb.
The FX stuff were all handled similarly - reverb delay compress and eq. EQing the top end up, again for added crisp. On the LFO one I added a stereo pan effect to add some movement to it.
The vocals are where I did the most work - I first chopped them into sections to adjust the volume individually. When the levels were all similar, I ran them through an EQ, pulling up the top end. Following this I ran them to two separate FX channels. One FX channel was 100percent (my 5 button doesnt work) reverb which was then passed into the second FX channel. The second channel acted as the master output for the vocals. Here I added a delay and compressor, effectively bringing up the level of the reverb, while retaining the same peaks of the clean signal.
When I usually make my tracks, I tend to do a lot of the eq/reverb/fx stuff in the project before bouncing it to the mixdown. I feel this way, its more the artist who controls the atmosphere of his or her track. So when I mix down, I'm used to essentially simply adjusting the levels, with a tad bit of EQ'ing and compressing when necessary. So this was something different for me. Hopefully it is sufficient & will love any and all feedback.
edit: It was brought to my attention that I cut the end too short & was asked to re-upload with 15 seconds or so added, here's the fix- i kept the original to ensure nothing was changed-
MP3- https://www.dropbox.com/s/mmxir94g0a6f6 ... 282%29.mp3
WAV- https://www.dropbox.com/s/dpzgf8pk3rb2x ... 282%29.wav
Original entry:
Code: Select all
MP3- https://www.dropbox.com/s/slyxb1xt741ylb7/Eric%20Dahlberg%20-%20If%20I%20Get%20Lost%20-%20MC03%20-%20ChaosBringer.mp3
WAV- https://www.dropbox.com/s/pc99rwfzmao85s6/Eric%20Dahlberg%20-%20If%20I%20Get%20Lost%20-%20MC03%20-%20ChaosBringer.wavKick- I simply Compressed & EQ'd the low end, bringing out the punch and bass.
Toms- Simply EQing and compression. Cutting the sub/low end to prevent any sort of conflicting basses
Keys, plucks & pad - EQ & Compression again. EQing the top end with a high shelf to bring up the highs, providing a more, crisp sound. Light compression after reverb & delay to bring out the reverb and delay more while not taking away from the overall sound.
Pad deep & bass - brought up the lows a bit. The pad bass had some really negative correlation so I fixed that with a stereo tool
Hit - I literally just lowered the volume. Seemed to have enough effects in itself.
The percussion was more or less the same for each - some EQing based on which it was, and a camel crusher on top. I love camel crusher on percussion because the compressor + built in limiter do wonders. They were all passed to the same reverb.
The FX stuff were all handled similarly - reverb delay compress and eq. EQing the top end up, again for added crisp. On the LFO one I added a stereo pan effect to add some movement to it.
The vocals are where I did the most work - I first chopped them into sections to adjust the volume individually. When the levels were all similar, I ran them through an EQ, pulling up the top end. Following this I ran them to two separate FX channels. One FX channel was 100percent (my 5 button doesnt work) reverb which was then passed into the second FX channel. The second channel acted as the master output for the vocals. Here I added a delay and compressor, effectively bringing up the level of the reverb, while retaining the same peaks of the clean signal.
When I usually make my tracks, I tend to do a lot of the eq/reverb/fx stuff in the project before bouncing it to the mixdown. I feel this way, its more the artist who controls the atmosphere of his or her track. So when I mix down, I'm used to essentially simply adjusting the levels, with a tad bit of EQ'ing and compressing when necessary. So this was something different for me. Hopefully it is sufficient & will love any and all feedback.
Last edited by chaosbringer on Fri Aug 15, 2014 2:31 am, edited 2 times in total.
