Recent content by elsenator

Hey man, thanks! And thank you for the suggestions. I've spend so much time mixing it that I ended up becoming deaf to the things that needed fixing. But I'm pretty happy how it turned out. The guitar tone comes from a Peavey 6505+ connected to a 4x12inch Engl V30 cabinet. An SM57 on axis 1 cm...

I've spent the last year and a half on an album by my 1-man project 'Muldjord'. The album bears the title 'The Ignorant Crown' and contains 10 songs total with a running time of about 40 minutes. I started recording it back in later Summer of 2010 and today I finally reached the finish line...

Awesome! I'm gonna hunt down an hm-2 right away. Thanks man! Really appreciate it.

I've been wondering for a while about the guitar tone Swanö managed to produce for the Resurrection Through Carnage album by Bloodbath. Does any of you have an idea of what the chain was to achieve such an immensely dry guitar tone? I'd really like to be able to get something like that...

I know that one of the lepau plugins, the IR loader, is seemingly unstable when using Cubase. It has made a session become unusable for me too. I would suggest using a different convolution plugin.

I would assume it to be a poorly programmed plugin. Cubase struggle to load FX chains on tracks if some of the plugins are unstable or have a tendency to crash. It can even make your entire session unstable, leaving you no other choice than to roll-back to an earlier instance.

Yeah, I think I might do that too, I mean, use dual mics for my next recording session. I will then let the sm57's handle the highs and use a t.bone RB500 for the lows. And use the setup you describe. It should give me a fuller sound I believe.

I was wondering, is there a "right" way of routing and processing guitars for metal? Or a proven method. My current setup is this, but I am unsure if it's actually a good way of doing things. Guitar L1 --> Bus1 Guitar R1 --> Bus1 Guitar L2 --> Bus2 Guitar R2 --> Bus2 Bus1 (Initial eq, both...

Depends on the genre. I would use it all the way through for death metal and many other types of metal where you want a thick guitar sound. You can probably leave it out on thrash/speed metal and traditional heavy metal though.

I usually just adjust the mic for the loudest one, making sure things don't peak. And then I record all of it, making the vocalist move back and forth depending on the velocity. Actually, you could argue that this is a vocalist thing. I believe a good vocalist knows when to go "off center" of...

I don't 100% agree on this. I mean, it shouldn't be played sloppy of course, but having them slightly off also brings in dynamic to the sound. But ultimately it all comes down to the type of music/metal/rock. My point is that tightness in the dubbed guitars, aren't always necessary, it depends...

I would gladly do this, but I have the exact same problems as you, so it wouldn't really help that much. But I plan on releasing a "do it yourself" song from my upcoming album, to let people fool around with as they please. In this process I could make a seperate export of my final mix aswell...

1 trick. First of all, I sample all the drumkit before I start recording. Cymbals, snare, toms, everything! Then, throughout the recording sessions, I load up these samples up and compare it to the drums as they sound this particular day, and make the needed adjustments. I don't change the...

I have some personal experience with this. These are my comments: Pros: - It gives you total control. You know the band, you know the sound, you can do the magic, even from record to record. - If you do stuff properly, your band members will believe in you, and this is really nice. - You save a...

I have yet to grow manboobs, so that will have to wait.