Collective questions for Mr. Sneap -thread

I think we need a mixing re-treat out at Andy's studio, just like they do that "rock 'n roll" camp!! Id seriously consider that a vacation!

Sign me up! :kickass:

p.s - Ive mentioned this a long time back, but when you feel your spent and done in the studio, I REALLY think you should do up a book/dvd!!!! Lots of mixing references out there, but none that focus on harder/rock/metal music!!! With the nature of the genres, they require a unique approach to mastering/sampling/mixing.

This forum has been terrific in taking me to a level which is much higher then I feel I was at before

Pictures, videos, stories from bands over the years, the whole enchilada.
 
Andy, how big of a roll does automation play in your mixing? I was thinking about the drums on Doomsday Machine in particular, is their more reverb going on for the slower parts and less for the faster stuff? I'm asking since it would seem to me that all that reverb you hear in the slower parts seems like it would mud-up on faster parts, but then again I have no idea.
 
I think its because I do know what I want to hear, I'm not second guessing. I'm not trying to base my sound on anyone else, or copy anyone else, I'm just trying to get things clear and well played. I guess this is what puts my stamp on things. I'm also a musician and I've been in the business over 20 years, I'd like to think I have a good work ethic, I certainly put the hours in and I think I'm pretty good at dealing with people in general. Where I am didn't come over night and I still feel I have a way to go.

thanks for the response Andy and for sharing that.

i think if you looked at anybody that's ever been very successful, in whatever they've done, you'd find most have the qualities you mention. who says hard work doesn't pay?? reassuring for me, and i'm sure most on this site, that work their asses off every day trying to get the perfect sound. perhaps, just perhaps it's obtainable. of course there's still that bit about knowing what the fuck you're doing... no amount of hard work fixes stupid. :heh:
 
Hi, Andy!
At first, thanks for all of your answers, and thanks, guys, for your questions, some of them was really-really interesting!
As for myself, I have one pretty stupid question)) Andy, I saw somewhere, that you are mixing absolutely ITB now, and I have one question about plugins (sorry, again:)... What is your favored eq plug for the main heavy guitars in the mix?
I was really big fan of Neve consoles, that's the reason why I have worked with outboard eqs for my guitars, my favored eq is Drawmer 1961, it's really cool for heavy guitars, GML is great too, now I think that my mixes can sound better ITB, but I still can't find the right eq plug for my guitars! I'm using a lot of waves ssl for dirty or clean guitars and waves api for clean but I have not found great plug for heavy dist gtrs yet.
Thanks in advance!
Best wishes,
Alex!

P.S.: Sorry for my bad english!
 
Another question: considering that the farm is very isolated and full of equipment, don't you fear the burglars sometimes(expecially when you are away from home)? I ask it because I'm thinking about the right place to use for a studio, and this is one of my worries :)
 
Hi, Andy!
At first, thanks for all of your answers, and thanks, guys, for your questions, some of them was really-really interesting!
As for myself, I have one pretty stupid question)) Andy, I saw somewhere, that you are mixing absolutely ITB now, and I have one question about plugins (sorry, again:)... What is your favored eq plug for the main heavy guitars in the mix?
I was really big fan of Neve consoles, that's the reason why I have worked with outboard eqs for my guitars, my favored eq is Drawmer 1961, it's really cool for heavy guitars, GML is great too, now I think that my mixes can sound better ITB, but I still can't find the right eq plug for my guitars! I'm using a lot of waves ssl for dirty or clean guitars and waves api for clean but I have not found great plug for heavy dist gtrs yet.
Thanks in advance!
Best wishes,
Alex!

P.S.: Sorry for my bad english!


he's answered that very question in this very thread already
 
Another question: considering that the farm is very isolated and full of equipment, don't you fear the burglars sometimes(expecially when you are away from home)? I ask it because I'm thinking about the right place to use for a studio, and this is one of my worries :)

I have insurance, a shot gun, electric gates and 15 acres to hide the body on.
 
  • Like
Reactions: protakill
I have insurance, a shot gun, electric gates and 15 acres to hide the body on.

That's one thing about a farm--plenty of places to hide a body.

On a bit of a different note:

We're all aware that musicians often tend to have fairly fragile egos. Do you have any particular method of breaking the news that a certain tone, recorded take, talent level, etc...isn't going to cut it and is generally awful?
That is, an approach to telling somebody that and yet still getting some level of performance out of them.
 
That's one thing about a farm--plenty of places to hide a body.

On a bit of a different note:

We're all aware that musicians often tend to have fairly fragile egos. Do you have any particular method of breaking the news that a certain tone, recorded take, talent level, etc...isn't going to cut it and is generally awful?
That is, an approach to telling somebody that and yet still getting some level of performance out of them.
+1, producer ettiquette is something I feel I need pointers on
I'm not the most subtle of people and in my limited experience, i've found a great amount of clever wording and subtlety is needed
 
That's one thing about a farm--plenty of places to hide a body.

On a bit of a different note:

We're all aware that musicians often tend to have fairly fragile egos. Do you have any particular method of breaking the news that a certain tone, recorded take, talent level, etc...isn't going to cut it and is generally awful?
That is, an approach to telling somebody that and yet still getting some level of performance out of them.

I've said it before, but usually playing their riffs on guitar as they walk in the room wakes them up abit.

Usually they know when they are fucking up and all it takes is maybe a bit of a guitar lesson or change of technique to get the part down. I'm not really dealing with terrible musicians anymore thankfully.

I find the whole ego thing amusing, you get to know how to handle certain individuals and I've had some pretty heated debates in the studio, never been fired tho........
 
Thanks for all these :headbang:

New questions: are you always mixing with a sub or just in a particular part of the mixing process? How long ago roughly did you get a sub and what difference did you feel it made? Finally, did it take a lot of adjusting and moving around until it was integrated with your monitors well enough?

I'm having a bit of trouble hearing what's really going on in the low-end, despite havind acoustic treatment so I'm wondering if I should go for a sub.
 
ouch...and how many animals do electric gates kill? It's an idea that is in my mind for a long time (electric gates) but it should be not very cool to rake up dead beasts every morning :D
 
+1, producer ettiquette is something I feel I need pointers on
I'm not the most subtle of people and in my limited experience, i've found a great amount of clever wording and subtlety is needed

Haha, I can just imagine you screaming "Just play the fucking song, you retard! Or even better, give the goddamn guitar here and I'll fucking play it for you!"
 
I don't know if anyone's asked, and the pics lead me to say Genelec, but...

Andy, what monitors are you using currently besides the Genelecs? What set sees the most use? What do you like/dislike most about the monitors you use.

When you master your mixes, do you use a different set of monitors, or just reference a few sets?
 
I don't know if anyone's asked, and the pics lead me to say Genelec, but...

Andy, what monitors are you using currently besides the Genelecs? What set sees the most use? What do you like/dislike most about the monitors you use.

When you master your mixes, do you use a different set of monitors, or just reference a few sets?

at the frontpage of www.andysneap.com you can see genelecs and ns10's and in the gear list it reads:

Monitors

- Bryston 2B Pro Amp
- Dynaudio M1's
- Genelec 1030's
- Genelec 1031's x 5 + 1092 sub
- Yamaha NS10's

But in pictures that Andy posted earlier were Genelec 8040's.



(I have a pair of 8030's myself I couldn't be more happy with them)