KVR MIX CHALLENGE - MC03 August 2014 - Voting period has ended, Winners announced (pg 17)

[Uncle E]

Hey everyone,

Well, I don't know if I'm allowed to submit (I sort of have an unfair advantage ) so I took this as opportunity to get REALLY experimental and not go FTW. This is the mp3 preview and it will download as a wav:

https://soundcloud.com/jrrshop/eric-dah ... lenge-mc03

Kick - Boosted massively at 30Hz with a Pultec to make it sound more like a heartbeat than a classic kick drum, compressed with 1176 to still retain some punch

Snare - Compressed with slow attack and release to bring out the initial knock of the snare but not the decay, EQ'd in a lot of 5K with a Pultec

Clap - side-chain triggered Studio One's Tone Generator set to white noise and panned them hard against each other, ran both through Acon Digital Verberate reverb on an aux

HiHats - EQ'd in 10K with a Pultec, EMT 140 reverb on an aux

Toms - EMT 140 Reverb aux

Crash - EQ'd in highs with a Pultec, EMT 140 and Verberate reverb aux

Hit - EQ'd out any low-end with a Pultec, mixed it low and ran it heavily through Verberate aux

Bass - Boosted massively at 100Hz with a Pultec, side-chain compressed with kick

Keys - EQ'd with Pultec, auto-panned with Melda MAutoPanner, EMT 140 and Verberate aux's

Pad - EQ'd with Pultec, auto-panned with MAutoPanner 180 degrees against the Keys, EMT 140 and Verberate aux's

Pad Deep - EQ'd heavily with Pultec to get it out of the way of both the other pads and the bass, light EMT 140 and Verberate aux's

Pads Buss - Side-chain compressed with kick

Plucks with Delay - Pultec, MAutoPanner, EMT 140 and Verberate aux's

Melodic Percussion - Pultec, Verberate aux

Transitions - Pultec, MAutoPanner on 2 of them, Verberate aux

Michelle - Pultec, 1176, Studio One Beat Delay, EMT 250 aux

Some more notes on how I mixed Michelle:

First, she's much louder than I normally go with. I was referencing Wilco and found that their vocals stand completely apart from the rest of the instruments, which gives them a kind of intimacy that you don't hear in most commercial music. It helps that his voice sounds so syrupy smooth, so I took that path with my EQ'ing of Michelle.

Second, I created a copy for delays so that I could carefully pick out what parts I wanted run through the delays. I then time corrected those parts so that the delays would be perfectly in time, which is something I've never done before and I'll probably never NOT do from now on. I kept a delay with zero feedback on the main vocal just to help blend the two parts.

Third, I ran the vocal reverb through Studio One's Analog Delay set to delay ~20ms and filter out highs and lows. In the future, I'd like to get more creative and actually use the Analog Delay's saturation to shape the reverb even more.

[blind]

https://www.dropbox.com/s/0cd691irm63x6 ... own%29.mp3

https://www.dropbox.com/s/92timr761rr47 ... own%29.wav

Spent a lot of time processing drums, used similar processing on the vocals actually (the Vinco compressor mainly from the Sonic-Core platform, has amazing saturation characteristics and leveling abilities) Vocals needed some low-mid cuts, kinda crowded there, but I really just went for a clean/clear/punchy mix and I think I accomplished that. Mixed with KRK Rokit 6/KRK KNS 8400 Headphones.

Did some Side-chaining, seemed to give it more glue than a buss compressor, but still added Kramer Master Tape for some glue (Preset - Clean and Open with no noise)
Decided not to double vocals since the vibe of the song is pretty airy
Did some vocal fader automation here and there to hold their dynamics without killing them

Notes

Kick - Vinco Saturation (Sonic-Core/Creamware Compressor)
Bass - 8th note Lowpassed (up to 10Khz) Ping Pong Delays, Xfer Dimension Xpander, Helios69 Bass boost, UAD Cambridge 60hz cut, Keyed Sidechain (Vengeance Multiband Sidechain)
Clap - Vinco Saturation, UAD Cambridge 300hz Hipass, UAD EMT140 Plate
Crash - Pingpong 1/4th delay, d16 Toraverb Hall
Hihats - 300hz Hipass, Vengeance Trashverb (Room)
Hit - d16 Toraverb Hall Reverb
Keys - Vengeance Multiband Sidechain (Heavier below 400hz)
Pad Deep - Vengeance Multiband Sidechain (Heavier below 400hz)
Pad - Vengeance Multiband Sidechain (Heavier below 400hz), Ping Pong Delay (1/4 dotted)
Plucks - Vengeance Multiband Sidechain (Heavier below 400hz), Ping Pong Delay (1/4 dotted)
Snare - Vinco Saturation, UAD EMT 140 Plate
Toms (All) - 80hz Hipass, Vengeance Gated Reverb (8th note Predelays)
Transition FX 1 - none
Transition FX 2 - none
Transition FX 3 - Artsacoustic Hall, FX Send (Ping Pong Diffused Delays 1/4 dotted)
Transition FX 4 - none
Delay Aux - d16 Toraverb Hall, Vengeance Multiband Sidechain (2000hz and higher)

Michelle Main - Gate, TC Powercore Voicestrip (EQ (Hipass 80hz, Low mid cut at 400hz, Hi shelf slight boost, Light Compression), Vinco Saturation, Ping Pong Diffusion Delays 1/4 (light), Uad EMT 140 Hall Send (light with low threshold gate)

Michelle Hook & Oohs - Same as above with Ping Pong Diffusion delays 1/4 dotted, d16 Toraverb FX Send (Cathedral, Light Sidechaining above 400hz, 1/4dotted Diffusion Delays), Uad EMT 140 Hall Send FX

Drum Bus - Vinco Saturation
Drum Bus Copy - UAD dbx160 heavy compression (NY Parallel Channel)

3 FX Sends
1 - Ping Pong Delays 1/4 dotted with diffusion
2 - Ping Pong Delays 1/4 with diffusion, d16 Toraverb Cathedral, Vengeance Multiband Above 400hz (very light)
3 - UAD EMT 140 Hall (light threshold gate)


Thanks for the opportunity! Would have spent more time on it but I have a lot on my plate at the moment. With extra time probably would have dove into the stereo field more and automated effects..

[Compyfox]

Those that only submitted MP3s:

a) make them accessible as download
b) if possible, upload a WAV or a FLAC file



I might send in something after all. Late, maybe unfinished.
I'll see. No guarantee.

11 hours left on my timer until midnight PDT.

[junitoh]

Here is mine:

Soundcloud:
WAV 44.1kHz 24bit
https://soundcloud.com/junitoh/if-i-get ... oh/s-dlj1e

MP3(320kbit)
https://soundcloud.com/junitoh/if-i-get ... p3/s-uMXNA

I was challenged for the first time.

It was found this challenge, because it was three days ago of the deadline, I did not have time.

My English is poor sorry.

Thank you.

Mixing Note------
about 8 hours in my bedroom studio.

Vocal
<Inserts>
EQ 01 Low Cut
EQ 02 Hi & Mid Boost , Mid Hi Cut
Comp & Saturation
EQ 03 5kHz few Boost - more power voice impact
Saturation 02 - more power
DeEsser
Comp Model 670 -I like Fairchild sound
Limiter -few Gain redaction
<sends>
Vocal Reverb 01
-Large Rev>Comp>EQ>Comp
Vocal Reverb 02
-Delay>Reverb>Comp

Kick
Multi band comp - Redaction Hi-Attack Kick tone(More deep tone)
EQ - Low & Mid cut
Comp - More Transient
Gate - Release control
Comp - add punch kick tone

Snare
EQ - Low&Hi Cut
Comp - Snapping sound
EQ - Mid & Hi Boost

HiHat
EQ - Low cut
Tap simulator - tone control analoge
EQ - Hi Boost
Limiter -More Punch

Tom
Reverb - add power & tone
Comp - more power & impact

other Drums instrument
　EQ - Low Cut
Comp - add power

Bass
EQ 01 - Low Mid Cut
EQ 02 - Low&Hi Boost
Saturation - Tape & Tube Saturation
Limiter - more Loud & Power

Synth &Transition EFx Channels
EQ - Low Cut & Tone Control
Comp - Volume Control
SidechainComp - trigged Kick. few gain ridaction(-3dB to -6dB)

[Denstrow]

Here's my submission:

https://soundcloud.com/denstrow/eric-da ... denstrow-2
(mp3)
https://soundcloud.com/denstrow/eric-da ... denstrow-1
(16-44)
https://www.dropbox.com/s/wfxc80r051a22 ... nstrow.rar
(32-48)

Notes:

Kick: Slight boost at 50 Hz, dip in the low mids, hi cut
Snare: low shelf cut, added body and boost at 4K
Clap: low shelf cut, added body, boost highs
Toms: boost 80, dip at 500, small boost at highs
Hats, Crash: Lo Shelf cut, boost around 4K
Compression for the closed hat, 2 compressors on toms (subtle and more standard) and on the drum bus
Perc: low/hi shelf cut, dip around 3K

Bass: Compressor sidechained to the kick, boost around 90, in low mids, hi shelf cut. Used Little Microshift and then made it mono up to 180 Hz
Pads: low/hi shelf cuts, different eqs, grouped and added microshift to clear the middle
Plucks: low/hi shelf cuts, boost around 3K
Hit: low/hi shelf cuts, dip in low mids
Transitions: Slightly different eqs, low shelf cuts on each
Vox: lo cut, low shelf cut, dip around 350, added air and a variation on the hooks. Used soft knee compression, gate on both, de esser on main vox

Console and tape emulation on all groups and master bus, some compression on the master bus (ca 2dB on loudest section)
Volume automation on vocals to bring out some softer notes, pitch correction here and there.
Subtle volume automation on a few other tracks, and also on the master bus (2dB differences between softest and loudest passages).
5 reverbs (main reverb Front/Back, Drum Reverb, FX Reverb, Vox Reverb) and 3 delay sends with some automation.
Stereo imager on master bus.

A bit different from what I normally do, but fun! I would love to have a chance to revisit the mix after a day or two, but I only could spare two days to mix it. I hope you enjoy it!

[satYatunes]

Nice track, loved the vocals.

Here is my mix:
https://www.dropbox.com/s/lae4dlon3zacv ... atunes.mp3

https://www.dropbox.com/s/7wgajzkf7tegs ... atunes.wav

Bass - Low cut @25 and boost @125, 400 and 4.5K, Used RBass (Hogarth bass preset and some adjustments)
Drum Buss - Density MK II compressor
Clap - Low cut @355 and boost @888, 8.1K, used LoudMax
Crash - Low cut @150, Dip @400, High cut @20K
HiHat Closed - Low cut 4.7K, boost @12.5k, used jsCompShaper compressor
HiHat Open - Cut @11k, dip @1.9 and boost @12.5k
Hit - Low cut @663
Kick - Low cut @43, boost @72.5, dip @125, 300, used Ferox for some saturation
Melodic percussion - Low cut, Mid-side eq, mid cut and side boost, used DC1A compressor
Snare - Low cut, boost @200, 1K and 7K
Pads Buss - Density MkII compressor
Pad deep - Mid-side Eqing
Pad - Mid-side Eqing
Keys - Boost @179, dip @6.2, Density MKII compressor, TubeAmp for saturation
Plucks without delay - Eq boost @246, 641, Density MKII compressor
Transition FX Buss - Density MKII compressor
Transition FX - all 4 tracks some Eqing only
Long Reverb Buss - Valhalla Room Reverb
Vocal Buss - Nectar Elements (Pop-Luch pop preset with some adjustment)
Drum Reverb - VintageVerb (Drum plate preset with some adjustment)

Span on Master.

All drums and percussion sent to Drum Reverb. Snare, pads sent to Long reverb.

Good luck to all participants.

[psycho43142]

Here's my submission:

https://dl.dropboxusercontent.com/u/535 ... 20Lost.wav


https://dl.dropboxusercontent.com/u/535 ... 20Lost.mp3

Mixed in PT 11.

Kick: UAD 1176 Rev A, UAD Cambridge EQ ( HP @ 29 Hz, L Shelf @ 55 Hz +5 dB, Notch @ 65 Hz -5 dB to make room for the Bass).

Snare: UAD 1176 Rev A, gated rev created with UAD EMT 140 on snare only).

Clap: UAD 1176 Rev A.

Toms: UAD 1176 Rev A.

Hats, Crash, and Melodic Perc. nothing used on.

Bass: UAD 1176 Rev E, Avid D3 side chained to kick, Soundtoys Devil-Loc to add some grit, UAD Neve 1073 for character, UAD Cambridge EQ cut at 714 Hz -5 dB.

Keys, Pad, Pad Deep Picks, Hit, and transition effects nothing used on.

Michele Main and Hook: UAD Precision De-Esser, iZotope Nectar 2 to make big, UAD LA2A for some character, UAD EQP-1A to add some warmth and air, UAD Cambridge EQ for a cut of -6.8 dB @ 515 Hz and a little more air.

Michele Extras: iZotope Nectar 2, UAD LA2A, UAD EQP-1A, Waves Q 10 for effect, and then into Waves L1 x 2 for severe limiting.

Vocal Sub: Waves SSL Buss Compressor

Master: Slate Digital VTM, UAD Precision Buss Compressor to make it pump, iZotope Ozone 5 for Rev on whole mix, Exciter and Limiter just to catch any Intersample Overs.

If anyone wants to see exactly what I did here is a link to a zip of the PT session.

https://dl.dropboxusercontent.com/u/535 ... ix%203.zip

[lunarchris1]

Hey folks,

Here is my mix. Michelle's voice is superb, so I tried to keep her front and center with as little noticeable alteration to her tone as possible.

Kick - Pultech, various eqs, saturation, mild compression
Snare - C6, Saturation, LoFi
Toms - Saturation, C6, Delay and Spring Reverb
Hats - Nothing
Drum bus - 1176
Bass - 1176, eq
Drum and Bass bus - Supercharger, eqs, Redd17, RVerb
Meldc Percussion - Saturation
Hit - Gate, eq, Kramer Tape, Vitamin, Supertap
Keys - eqs, Redd 37
Pad Deep - eq, LoFi, Little Primal Tap
Pad - eq
Plcks - Ultrachannel
Transition1 - eq, 1176, Scheps 73, TRacks Hall, eq
Transition2 - nothing
Transition3 - LoFi
Transition 4 - Scheps 73 and TRacks Hall, eq
Instrument Channel - PT11 Compressor, LA2A, eqs
Vocal Lead - DeEsser, eq, RComp, LA2A, Scheps73, Redd51, Pultech, Reverb Send (eq, Rverb) and Delay Send (eq, SuperTap6, Saturation), automated send to Timeless2 with Kramer Tape, L1, Maag eq
Vocal Hook - Same chain, slightly different send amounts, automated send to Timeless2 with Kramer Tape, L1, Maag eq
Vocal Bus - Kramer Tape, REQ2, Maag eq
Master Bus - Gate, eq, RComp, saturation, eq, bxControl, Tracks Metering

-3dbFS for peaks
RMS fluctuates between -24 to -15.2db tops

MP3-
https://www.dropbox.com/s/mdbelvsexncbi ... 1.mp3?dl=0

WAV-
https://www.dropbox.com/s/ntste7i0wdw74 ... 1.wav?dl=0

<iframe width="100%" height="450" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=ht ... "></iframe>

Let me know what you guys think! This is my first time posting to a KVR challenge, but I had to since it gives me a shot at U-He's Diva!!

Thanks,

Chris

[Compyfox]

Ah what the heck... it's currently 3:38am for me in Germany (4:10am at the time I hit the submit button), and I just finished encoding into MP3. So I guess I'll be joining after all, even after I said "not another all-nighter!".

Even at the last minute, I still gave my best, pulled a lot of tricks and paid a lot of attention to detail. If there might be a need for a revision (feedback is welcome!), this has to wait until after the voting process (see my MC02 entry and later revision).



Here is my attempt at mixing "If I get lost" by Eric Dahlberg:
Eric Dahlberg - If I get lost (Studio Compyfox) MP3 version, ca 10,7MB, 44/24
Eric Dahlberg - If I get lost (Studio Compyfox) WAV version, ca 102MB, 44/24


Reference level -18dBFS = 0VU, though I had to pull down all faders post mixing to reach that level. The kick, bass and vocals really light up the meters. It's an electronic track after all.

Short info:
- I did tackle reconstructing certain vocals parts
- I barely used emulations (console preamp) on this one
- I used two reverb types, two delays, one flanger, one chorus, one Pitch Shifter, a MultiFX device and a Distortion unit as Send FX
- my main weapons of choice were: Focusrite Midnight EQ and Comp, Melda Production MDynamicEQ, SleepyTimeRecords Transient Designer - though I also used TAL Filter 2 (Panning), bx_Control v2 (narrowing/enhancing the stereo field), and Cubase's built in Compressor/Gate
- I did utilize a couple of tricks here and there for "added effects"
- I did not use no parallel compression this time around


The following is a timeline of all the edits I did.

The time marks when I was finished with the next step. Not counting random host issues (Cubase 7 ) and breaks in between. On and off I worked about 5 days on this. Plus another "all-nighter" :

Code: Select all

Trackmark (hours):
0:00h - start of the project
1:31h - Preparations, Strip Silence, Rough Edits
2:10h - Done with VU meter setup, created rough mix
3:23h - finished major vocal edits
3:58h - finished fine vocal edits (reconstructing certain parts)
4:38h - a try to create a sub kick to "add" to the production, unfortunately it's fluctuating
4:52h - another try to create a sub kick, still fluctuating but not as drastic anymore
6:32h - finished all vocal comps (HPF, Automatic Gain Control, comping, etc) - issues with creating MONO bounces
7:11h - basic Send FX setup
7:32h - basic vocal FX setup (Trident Preamp, +3 drive, +3 input gain)
8:06h - Overhaul Send FX setup

ACTUAL MIXING:
9:28 - Vocals (Dynamic EQ) - adjustments to let them sound as "one take"
9:45 - realizing that IKM ARC was off
10:15 - Vocals done (EQ fixes and Comp)
12:37 - General Mix (Playback) Done, Vocals still need send FX
13:47 - Mix finished (finetunings might be necessary!)

I'll update the post with a more in-depth documentary over the course of the next days.
Please bear with me. But I need to take a break for the next couple of days.


Feedback is welcome.
Good luck to all participants.



5 HOURS LEFT UNTIL MC03 IS OVER!

[camsr]

7z compressed 32/96 wav: http://www.filedropper.com/camsrmc03
Compy, how do you compress those WAVs so well? This barely got 80% compression.

MP3: http://www.filedropper.com/kvrmixchalle ... ifigetlost

Edit for mix notes (not cheating, honest!)

I started by aiming for a bashing club mix, but later found the sound better with a down-low/afterhours vibe. Kept it easy on the ears while adding some gritty texture for contrast to the vocal. I did not like the sound of a vocal delay so I used reverb and kept it in the background for a sense of envelopment. I also took the approach of mixing with the intent of heavy handed master bus processing. I didn't use any processors on the master bus and only bussed the kick/snare/clap for dynamic processing and EQ. I think I could have done some more tonally overall.

For dynamics, the vocal got the most TLC I could manage I think it sounds over-compressed, but high volume listening proved enjoyable. I used ReaComp, TDR FB comp, and Nova67 exclusively here. I added some harmonic enhancement and treble excitation via plugin chains in FL's Patcher. Then I sent the processed vocal to a reverb send and another send which consisted of Valhalla FreqEcho for a subtle washy treble. Besides the vocal, the drum bus got some expansion, with the kick being hit softly by RoughRider pre. The snare was shaped with ReaComp, and the hihats were parallel compressed also. The kick ended up too loud on the sub, but I think it should be manageable in a mastering. I blame my speakerbox.

Harmonic enhancement was limited. The kick got hit with Float Crush for some subtle treble movement, and multiband compression was used to manage it. The Toms was my favorite part of the whole mix, using Float Crush again to add some edge, and a homebrew filter for mojo. The vocals used the same filter.

Delays and reverb were essentially the toms and the vocal. Everything else is bone dry, except the hats which got doused with Acon Multiply for movement again. Multiply was also on the vocal reverb send for a wider soundstage. The toms were sent into a reverb and a loooong delay, with Kjaerhus Autofilter after it to shape the tone. The FX tracks has FreqEcho applied for a very small downward frequency shift.

EQ used were FL studio's parametric EQ, Dust Equalizer, and I think that's it.

So how I managed to shift the kick's pitch was actually very simple. I placed FreqEcho (god damn I love this plugin) and tuned it down by 7hz. Since the kick has almost no overtones, there was no opportunity for frequency collision or beating oscillations. A monophonic sound can be pitched successfully with a frequency shifter, it's just different.

[lunarchris1]

Sorry folks,

Looks like my dropbox links aren't working for some reason, so here are my submissions:

WAV:
http://www.filedropper.com/ericdahlberg ... unarchris1

MP3:
http://www.filedropper.com/ericdahlberg ... archris1_1

I've got my fingers crossed that these work better! My mix notes are in my earlier reply.

Thanks!

Chris

[Bass108]

https://soundcloud.com/jay-yaskin/eric- ... -mc03-comp

https://www.dropbox.com/s/1iryt1yrvp25z ... omp%29.wav

I took a different approach for the source to create a different sense of space.

I let the ambience come from the pads and vocals and let the drums be a bit more dry create more impact and contrast for the rest of the production. The style I created reminds me more of a sound suited to Deadmau5. On my first listen to the source, I immediately wanted to saturate the mix and give it some more punch. The snappy kick here, that is reminiscent of a lot his tracks was my first idea of what to start with.

There lots of UAD stuff here. Everything is being run through Slate Virtual Channels set on SSL all being sent to a Fatso on the mix bus.

The drums are being shaped with gates and transient designers and saturated with neve/api emulations, compression, distortions like trash and bx. Using a nonlinear reverb RMX16 impulse for added drum dimension. Kick is bussed out, low-passed and squashed to mix back in for for more "oomph" in later sections. Claps are using a club room impulse for extra space and have a 1 bar delay.

Bass is pumping slightly on four (Vengeance multi-band sidechainer) with a small amount of chorus for movement/width.

FX is treated with Lexicon reverb and touched with automation to gel with mix. For the stutter fx transition, there is a small amount of movement added with a mixed high-pass moog filter for a little more interest.

Synths are all carved out (filtered, notched, saturated) and placed along stereo spectrum to sound like one unit. I used a bit of MXR flange to give some extra movement and I sought to bring out some synths' character with transients while others to have less for balance.

The lead vocal is heavily treated with busses for reverb, spread (detune/chorus), and delay. It is high-passed pretty high to 400Hz, compressed with an LA-2A aggressively, saturated with a 1073, de-essed. and then complemented with Lexicon reverb, Dimension D choruses, and a basic digital delay on 8ths that is ducking. I wanted the lead above to sound above the mix in a heavenly, breathy quality. I opted to keep the space in the mix for the other elements rather than go crazy with delays but that can certainly be added especially if the artist/producer wants rhythmic delays. Honestly, I can do without because I think the backing track is so strong now that the wide spacing of the vocal phrases just makes it sound cliche.

audiofidelityproductions

[Uncle E]

It is 1:07am PST

The KVR MC03 has officially ended!
Thanks for your participation - we hope you all had fun. We're glad that the time extension enabled so many people to participate and all future MC's will now be 21 days (or longer) to accommodate this level of participation.

Please make sure that all your MP3s and WAVs are available for download and that you update your mix documentaries until the voting process takes off in this same thread. We will need a few days to analyze the mixes and normalize levels by average RMS (Compyfox has developed a brilliant system for this). Voting should begin on August 26 or 27.

[Marando]

So many mixes, I like many of them!!

[Compyfox]

Thanks Eric for closing the Mix Challenge submission period.


Let me highlight the main reminder:

Please make sure that all your MP3s and WAVs are available for download and that you update your mix documentaries until the voting process takes off in this same thread.

If everything goes well - the voting process will start in this very thread around 27-08-2014.

Compy, how do you compress those WAVs so well? This barely got 80% compression.

The strength of the compression has something to do with how much content is written into the file itself. The STEMs could be compressed down to a fraction of it's original size due to the fact that half of the WAV tracks were not loaded with information from start to finish.

The less information, the higher the compression.

Speaking of which:
The source files were 44/24. Could you please provide a suitable WAV file according to the Guidelines?
(as it's written there: be reasonable -- 48/24 max)

Personally I mixed at 44/24 - no oversampling. 96/36 is a bit excessive. Else I need to SRC and Dither it over here with Wavelab during the preparations for the voting package and you have to live with the results.




Also... in browsing through the thread and reading some documentaries, it looks like a lot of people (mostly the newcomers) already did some pre-mastering (multiband compression, limiting, "adding fairy dust", etc on the summing bus). I recommend those people to also read the guidelines again and revert from that if you happen to join the next Mix Challenge.

I understand that this is probably your daily routine. But this challenge is about mixing - not (pre)mastering. (pre)mastering can mask a lot of issues during the mix. So the learning factor is massively reduced. The aim of the Mix Challenge is to learn how to mix without heavily utilizing the summing bus and having a certain loudness to boot with. Hence the in-depth description with reference levels.

Those tracks will still be pulled down to a global level with the Loudness Normalization process for a better objective judgement. So please keep that in mind for the future.




More in a couple of days.