GearFest Mixing Contest

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If my DAW crashes one more time...

Seriously, HATE HATE HATE HATE HATE. :spank::laughings:
 
Also: I really have to thank some of you for pointing some stuff out that I probably would have overlooked. Polishing this thing up and will post soon.
 
ouzo77 said:
hey studioman
I guess the Drummer of the Band wouldnt mind, because its Not gonna be their official Record or anything.
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Well do you suppose it might be a good idea to ask him first before assuming he doesn't mind and just going ahead and doing it? Not that it matters much for this particular piece, but I am talking just in general.

fHumble fHingaz said:
You're right, it is a slippery slope. The digital world allows us as mixers to tamper infinitely with the source, which can really open a Pandora's box of tastelessness...

Please correct me if I'm wrong, but your questions seem to imply that relatively recent innovations like drum replacement/augmentation and vocal tuning somehow inherently "contaminate" a mix if they are used...
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lol, I have used auto tuning and drum replacements all the time...On other works... It's not really about "contamination" per se, it's more about just consulting the artist I think. I guess in this case for some reason I thought it was really more about sheer mixing, without out so much fixing. Cause a lot of that, like drum replacements and auto tuning, or even radically changing the guitar player's tone, which many tend to be quite finicky about, could be considered more of a production decision that in my opinion, should really be closely consulted with the artist on prior to doing.

Even locking up to click and correcting natural, gradual timing shifts in a track played by humans might be something one should ask the artist about before doing. A lot of cats are sensitive about that. Some outright refuse to lock to click, actually WANTING those timing fluctuations, even though they are able to play to clicks all day long if they want.

Overall it might have helped to clarify more to what extent one was able to go, or perhaps what the exact criteria for judging the mixes were going to be, and what the artist was looking for. The examples given on their site were all much better productions. Sort of strange the mismatch there- and I have to agree with a few here that are not crazy about the recording quality of the tracks supplied- and particularly on her vocal.

The lines between producing and mixing are so blurred here that perhaps it is time for a well known engineering and producing team to attempt to better define those lines- for all of us. Not for this piece, but just in general. For example, is the decision to radically alter the guitar player's tone without consulting him a producing decision or mixing decision? So many questions exist like that which could go either way. And so often engineers are forced to wear all the hats and rarely get the credit for it. I think we all might benefit from a book that at least put down some base ground rules about the separate roles of producing vs. engineering, that are so often performed by one person.
 
StudioMan22 said:
Well do you suppose it might be a good idea to ask him first before assuming he doesn't mind and just going ahead and doing it? Not that it matters much for this particular piece, but I am talking just in general.



lol, I have used auto tuning and drum replacements all the time...On other works... It's not really about "contamination" per se, it's more about just consulting the artist I think. I guess in this case for some reason I thought it was really more about sheer mixing, without out so much fixing. Cause a lot of that, like drum replacements and auto tuning, or even radically changing the guitar player's tone, which many tend to be quite finicky about, could be considered more of a production decision that in my opinion, should really be closely consulted with the artist on prior to doing.

Even locking up to click and correcting natural, gradual timing shifts in a track played by humans might be something one should ask the artist about before doing. A lot of cats are sensitive about that. Some outright refuse to lock to click, actually WANTING those timing fluctuations, even though they are able to play to clicks all day long if they want.

Overall it might have helped to clarify more to what extent one was able to go, or perhaps what the exact criteria for judging the mixes were going to be, and what the artist was looking for. The examples given on their site were all much better productions. Sort of strange the mismatch there- and I have to agree with a few here that are not crazy about the recording quality of the tracks supplied- and particularly on her vocal.

The lines between producing and mixing are so blurred here that perhaps it is time for a well known engineering and producing team to attempt to better define those lines- for all of us. Not for this piece, but just in general. For example, is the decision to radically alter the guitar player's tone without consulting him a producing decision or mixing decision? So many questions exist like that which could go either way. And so often engineers are forced to wear all the hats and rarely get the credit for it. I think we all might benefit from a book that at least put down some base ground rules about the separate roles of producing vs. engineering, that are so often performed by one person.
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I have an old saying I keep in mind for when these conundrums raise their ugly heads: "It's easier to ask for forgiveness than permission" :D
 
I was just wondering: why would a professionnal mixer participate to a mixing contest?
 
Actually I was not pointing someone in particular, but according to the profiles we can see in soundcloud that joined the contest, there's a bunch a professional guys. And by the way last year's winner was a pro. Why would a pro join a mixing contest? I'd be glad to know their motivations.
 
^ those with SSL consoles and other high end equipment ? yup that is a bit crazy. i think quite few of them are fake though, since there mix doesn't has that high end sound. whatever be the case, i guess this contest is all about mixing techniques and making the most of your gear and i hope the winner is chosen based on that instead of who could get a "warm" sound with a $10k compressor
 
Why would a pro join a mixing contest? I'd be glad to know their motivations.
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I dunno...to put all us amateurs in our place, maybe? ;) Maybe they haven't got enough work because home studio dudes have learned all their secrets & are turning out pretty decent mixes these days, so there's nothing better for them to do... really... who cares? :D
 
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Regarding with what sound and style one should mix this song. I think a good guideline is what the band has already released. For me it's actually a fresh lively sound with a sweet vintage attitude here and there. I can not hear much of an obvious kick drum/snare sample replacement. The drums sound actually, well like drums, heh. Just saying :-)


Cheers,
Andy
 
The question for me is, would a good sounding mix without samples be considered better than a better sounding mix with samples?
Does the use of samples (or any other technology that makes it a bit easier) make you think less of a mixer, although his mixes sound good?
I think it's always about the end result. I don't care what has been done with the tracks, as long as it sounds good and right.
Why not use the tools available?

BTW, as far as I know, Chris Lord-Alge uses samples on drums all the time. And he's one of the biggest rock mixers.
 
I can not hear much of an obvious kick drum/snare sample replacement.
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I think this is the key isn't it?

would a good sounding mix without samples be considered better than a better sounding mix with samples?
Does the use of samples (or any other technology that makes it a bit easier) make you think less of a mixer, although his mixes sound good?
I think it's always about the end result. I don't care what has been done with the tracks, as long as it sounds good and right.
Why not use the tools available?
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Well, I guess it's hard to know what the judges views are - we can only assume that since they've permitted it, in all fairness, it shouldn't really have a bearing - but who knows? Life isn't always fair ...

...the thing is that many people view samples as an "easy fix", or "cheating". If anyone has ever tried to sample-replace a complex, dynamic drum part (containing ghost hits & flams for eg.), they'll know that it is far from an "easy fix". "Transparent" sample replacement/augmentation is actually an art unto itself - just as legitimate as knowing how to eq. or compress IMO.
 
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Hi Guys!

My first post here, don't be too rude...

I remember a video (may be from the GearFest) where Fab said drums replacement is a crime against humanity. On the other hand, in PureMix videos, snare sound is often mix with a sample. Is it drums replacement? Personally, I never had the opportunity to try any drums replacement tool but I sometimes put a snare sample in the mix to get the vibe I want to get...

Anyway, I don't know if this will help, but here is my entry for the contest. Pure amateur work and no samples, I swear :D!



Cheers!

SodOnBass
 
Hello !

this is my first mix on protools 10 for GearFest Mixing Contest with :
Waves Plugins (1176, LA2A, Kramer, H-delay, NLS, C6, R-dess, SSL bus comp, L2)
Sonalksis stereo tools
PCM91
SpringAgee
Fabfilter EQ

No mastering, no hardware (expet pcm), just PT 10 and plugins.
if you want to give me your opinion, it's so cool.

 
Thanks guys for all the plays....

Thanks guys for all the "plays" and all the comments. And now I've even found out how to link to the mix with this nice player? Thanks to my buddy MortenDK.



Please leave a comment if you feel like it.
 
thomasjacquot said:
Hello !

this is my first mix on protools 10 for GearFest Mixing Contest with :
Waves Plugins (1176, LA2A, Kramer, H-delay, NLS, C6, R-dess, SSL bus comp, L2)
Sonalksis stereo tools
PCM91
SpringAgee
Fabfilter EQ

No mastering, no hardware (expet pcm), just PT 10 and plugins.
if you want to give me your opinion, it's so cool.
Click to expand...

I like it! Great energy. IT sounds a Little bit like its recorded live at a Club. Maybe turning down on some of the reverb would change that. Then Again this could be by design?

Here is my mix, feedback is welcome:

 
I have no problems disagreeing with people no matter what level they are at. Samples can sound good and they can sound terrible. Same goes with auto tune and other "fix it" tools. I have had people on this forum bash reamping, which I can only assume stems from ignorance.

I wouldn't care if a dude was touring around the world playing guitar for a living, if he told me a line 6 spider was a great amp I would fight him on it. haha

I also take issue with individuals who lecture home recording people behind more than a million bucks in rooms and gear as if it's impossible to get good results without signal paths that don't cost $5k a piece.

On some level, I was sort of annoyed with the recording in question when I watched it. "Hey look guys we have all this gear that is readily available." Bullshit, half that gear would never show up in a home studio. Manley gear is not cheap and your average home guy isn't going to have a couple Manleys or anything by dangerous. The cost of the vocal mic they used is probably the average home guys entire mic budget.
 
Peterjk said:
Thanks guys for all the "plays" and all the comments. And now I've even found out how to link to the mix with this nice player? Thanks to my buddy MortenDK.



Please leave a comment if you feel like it.
Click to expand...

Found the Go Advanced button! :thumbs up:
You welcome buddy!.
 
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