The MIXING CONTEST is now closed to submissions! Many thanks for all the mixes!
To showcase our microphones, we did a live recording session at the renowned COSMIX Studios, located in the heart of Vienna. Download the multitrack session of this song and mix it your way - https://lewitt.link/Cosmix-AudioFiles-PTandAllDAWS
You’ll have an absolute blast mixing this song, with live performances by musical director and guitarist Thomas Hechenberger, Valentin Oman on the Fender Rhodes, David Leisser on drums, and Bernhard Osanna on double bass accompanying singer Celina Seilinger a.k.a. Celina Ann.
And of course, we couldn’t resist holding a miniature mixing challenge among our own team. It was Max Schnutt who ultimately won this contest with some amazing results – watch the video and check it out for yourself!
Also, check out our other mixing contests & competitions!
We hope you’ve enjoyed this video … we definitely had a lot of fun making it!
Working at COSMIX studios with musicians and artists of this calibre was an absolute pleasure, and we’re proud to showcase the talent of these musicians – as well as, of course, the sound of our microphones. Feel free download the files, mix them, tweak them, do whatever you like!
Multitrack Session Download
We put together a mix in Pro Tools 12 using stock plugins so that you can open the session without any compatibility issues. Download the files here: https://lewitt.link/Cosmix-AudioFiles-PTandAllDAWS
When you use Pro Tools, download the "LEWITT Cosmix Pro Tools Session" - if you don't use Pro Tools, download the "Files for all other DAW's" folder. The only additional plugin you’ll need is our free POLARIZER plugin, which you can download here.
// What is the POLARIZER and what does it do?
When you record with our LCT 640 TS, you can enable the Dual Output Mode to record the front and back of the capsule individually. Simply record the two signals on a stereo track and insert the POLARIZER plugin. As we did record the session in Dual Output Mode, you're now able to change the mic’s polar pattern and even its most sensitive direction on the following tracks:
- VOX - LCT 640 TS
- ROOM RIGHT
- ROOM LEFT
// Other DAWs
- VOX - LCT 640 TS
- ROOM RIGHT
- ROOM LEFT
// What does the session contain?
You get a live recording of the band (drums, upright bass, guitar and Fender Rhodes), two mono captures and one stereo capture of the room and three different vocal takes. One vocal take was recorded with the LCT 640 TS, one with the LCT 440 PURE, and one with the LCT 240 PRO. No editing and no tuning was applied to these tracks, they are the RAW tracks!
There’s also a video of the performance. At the beginning of the video, we show the placement of each microphone. Use the video and synchronize it with your mix. We’re already looking forward to see what you make out of it!
// Session notes
Since the song’s style is ’60s-inspired, we took a rather minimalistic approach.
The drums were captured with an LCT 640 TS in Dual Output Mode, facing sideways above the drum set. The two signals were recorded to individual tracks and panned hard left and right to get a stereo image. A DTP 640 REX was used on the kick, and an MTP 440 DM on top of the snare.
On the guitar and the Rhodes, we also used the MTP 440 DM.
On the bass, we used the dynamic capsule of the DTP 640 REX and a DI.
We did three vocal takes, each with a different microphone. You can choose which one you like best. We used the LCT 640 TS, the LCT 440 PURE, and the LCT 240 PRO. On the LCT 640 TS take, you can use the POLARIZER to change the polar pattern.
To capture the room, we used a single LCT 540 S and also recorded with an MTP 550 DM that doubled as our talkback mic. And to capture the stereo image of the performance, we placed two LCT 640 TS in Dual Output mode in an AB configuration. If you download the Pro Tools session, you’ll find the POLARIZER inserted on both tracks.
For ease of use, we linked these two tracks together. So if you change the polar pattern on one of them, the other will follow. This lets you easily “scan” through the different polar patterns and also change the listening direction of the microphones. Should they “look” at the band or just record the reflections coming off the wall? The decision is yours! Of course, you could also use automation to emphasize certain parts in the track. Supercardioid in the verses and omni in the chorus? The possibilities are endless – just trust your ears. What sounds right is right, it’s that simple!