David Bendeth

Think Adam D only Tracked the guitars (Underoath), someone else did the drums. Different kit per song I' heard and no samples involved (As from what I remembered what David posted on the gearslutz forum).
 
I'm definately hearing the exact same snare sample in Paramore, Underoath and There for Tomorrow. Each one is pretty unique but you can easily hear the same sample behind each one. I love it.. but it sets the standards way too high. How am I ever meant to get a snare as good as that! ><
 
Bendeth is AWESOME.
Paramore started out as a guilty pleasure i heard on a fueled by raman sampler ages ago.... now its full on pleasure. love it.

"once you reach that point where youve got everything from paramore to earth on your itunes and you're ok with your buds scrolling through it, you have obtained complete musical freedom
ENJOY"

This is SO true...
looking at the top played in my iTunes..
This will destroy you, Further seems forever, Jimmy eat world and the British expeditionary force...
OH SHIT! im SO not Metal...
pffffft

<puts on abominable iron sloth>

well not that often...
 
I used to be an elitist prick. I used to hate pop music because it was pop. I used to hate emo because of whatever stupid caveman irrational reason I had to hate it. I used to automatically hate everything that. had "core" attached to it. I used to hate Underoath before I even fucking heard them because I just hated the fans because they looked like "core fans" or "emo fans" and that didn't listen to "troo kvlt metal" like I did.
I'm fucking ashamed that I used to be an elitist. It's just being an asshole and an ignorant fuck tard for no reason.
I will now happily listen to Dashboard Confessional alongside my avant garde music and progressive metal.
You know what? Fuck most "troo kvlt" metal, because the truth is I think most of it is recycled garbage made by bands who hop on bandwagons because of wanting to be "metulz" rather than for any artistic integrity at all.
Bands like Trivium for example, just hopping on the retro thrash metal bandwagon because "MAN REMEMBER HOW COOL METALLICA WAS IN THE 80S?".
Most power metal I hear, geezus, it's just that 80s and 90s sound.
Most death metal I hear, just contrived rehashes of old shit.
What happened to looking to the future? It's not the 80s or 90s anymore. The metal scene is just as bad and backward thinking as the local retro rock band, the average pop princess thing.
That's why I don't even listen to metal anywhere near as much as I used to, because so much of it is garbage.
People writing 10 minute songs to be "PROG METUL" for the sake of it is no more contrived and forced as the pop rock band that writes 2 minute songs because they want to be instant millions and care about everything except the musical aspect.
I don't get why people are so quick to defend metal anymore, people need to realize now that the market has been over saturated with copy cat bands for so long, it really is a lot of crap.

Bands like Underoath and Paramore really are exceptions to the rule of majority of stuff in their given genres being forced, lacking artistic integrity and just being plain garbage.
When I heard Underoath for the first time properly, it was actually something different.
I cannot say that about 95 per cent of the latest melodic death bands on the scene, the latest thrash bands etc.
It was real, it sounded like a bunch of real, driven musicians out to create and deliver the goods.
When I first heard Paramore properly, I was blown away. It was genuine, real music, something I can't say for most metal bands nowadays.
Despite their level of success commercially, everyone I've spoke to that has met the band say they are some of the nicest and most humble musicians they've met.
A far cry from the assholes in "troo kvlt" metal band Trivium who slagged off Andy Sneap for "not making our record so natural enough", the band that talks shit about being the new Metallica and all sorts of garbage they have said over the years.
I'd rather listen to an extraordinarily well written 3 and a half minute Paramore song that had real love and genuine feeling put into it that never fails to inspire me than some goddamn forced and uninspired 8 minute instrumental written by Trivium for the sake of "saying troo to kvlt metal's style of being complex and over indulgent".
Slag me off all you want, because I fucking love Paramore and I have been listening to them daily for a while now. Why? Because their music has more staying power , emotion and better song writing than 80 per cent of modern metal I've heard.
 
And lastly, damn, the production on Riot! is killer. Absolute goddamn perfection sonically. One of the best distorted rhythm guitar tones I've heard in recent times. All We Know Is Falling had quite a few flaws in the mix, and Riot! managed to be totally free of those flaws.
 
Petrovsk Mizinski said:
I used to be an elitist prick. I used to hate pop music because it was pop. I used to hate emo because of whatever stupid caveman irrational reason I had to hate it. I used to automatically hate everything that. had "core" attached to it. I used to hate Underoath before I even fucking heard them because I just hated the fans because they looked like "core fans" or "emo fans" and that didn't listen to "troo kvlt metal" like I did.
I'm fucking ashamed that I used to be an elitist. It's just being an asshole and an ignorant fuck tard for no reason.
I will now happily listen to Dashboard Confessional alongside my avant garde music and progressive metal.
You know what? Fuck most "troo kvlt" metal, because the truth is I think most of it is recycled garbage made by bands who hop on bandwagons because of wanting to be "metulz" rather than for any artistic integrity at all.
Bands like Trivium for example, just hopping on the retro thrash metal bandwagon because "MAN REMEMBER HOW COOL METALLICA WAS IN THE 80S?".
Most power metal I hear, geezus, it's just that 80s and 90s sound.
Most death metal I hear, just contrived rehashes of old shit.
What happened to looking to the future? It's not the 80s or 90s anymore. The metal scene is just as bad and backward thinking as the local retro rock band, the average pop princess thing.
That's why I don't even listen to metal anywhere near as much as I used to, because so much of it is garbage.
People writing 10 minute songs to be "PROG METUL" for the sake of it is no more contrived and forced as the pop rock band that writes 2 minute songs because they want to be instant millions and care about everything except the musical aspect.
I don't get why people are so quick to defend metal anymore, people need to realize now that the market has been over saturated with copy cat bands for so long, it really is a lot of crap.

Bands like Underoath and Paramore really are exceptions to the rule of majority of stuff in their given genres being forced, lacking artistic integrity and just being plain garbage.
When I heard Underoath for the first time properly, it was actually something different.
I cannot say that about 95 per cent of the latest melodic death bands on the scene, the latest thrash bands etc.
It was real, it sounded like a bunch of real, driven musicians out to create and deliver the goods.
When I first heard Paramore properly, I was blown away. It was genuine, real music, something I can't say for most metal bands nowadays.
Despite their level of success commercially, everyone I've spoke to that has met the band say they are some of the nicest and most humble musicians they've met.
A far cry from the assholes in "troo kvlt" metal band Trivium who slagged off Andy Sneap for "not making our record so natural enough", the band that talks shit about being the new Metallica and all sorts of garbage they have said over the years.
I'd rather listen to an extraordinarily well written 3 and a half minute Paramore song that had real love and genuine feeling put into it that never fails to inspire me than some goddamn forced and uninspired 8 minute instrumental written by Trivium for the sake of "saying troo to kvlt metal's style of being complex and over indulgent".
Slag me off all you want, because I fucking love Paramore and I have been listening to them daily for a while now. Why? Because their music has more staying power , emotion and better song writing than 80 per cent of modern metal I've heard.
Click to expand...

yes mate
 
I have to bring back this old post... I have Underoath's "Lost in the Sound of Seperation" on CD. Is that CLA's mix or Bendeth's? If it's not Bendeths, where can I find it?
 
The Breaking Benjamin CD made me realize how much I dug Ben Grosse's mixing style.

I can't really get into the over-produced Bendeth style. Nickelback is about as 'pop' as I get, and even that is only held up by Staub's legendary mixing. Underoath and Paramore both sound like amazingly constructed, well crafted, superbly produced utter trash to me.

Also it seems CLA doesn't really hold up all too well when mixing alongside some other big names. Randy wiped his mix on the latest Nickelback, and Grosse wiped it with 'Phobia'. The Diary of Jane sounds crap compared to every other track on that CD.
 
Ermz said:
The Breaking Benjamin CD made me realize how much I dug Ben Grosse's mixing style.
Click to expand...

I like Ben Grosse's mixing on Filter's "Title of Record" more than the Benjamin one.
Shit it sounds so huge!

About Bendeth...well, I think Riot! is amazing sonic wise, no matter if you like the music or not ( I do)

Also, the guy has been sharing a lot of info in gearslutz (his name there is "stereomixer")

If you look underoath's making of the new album on youtube, it's funny how all the kids slag bendeth ( on the comments) :lol:
 
One thing that actually really interests me is how one gets to a point where they can assemble a team around themselves as a producer? What do you do for that? Is the team financed by the label, or by the producer? How does that whole thing work... it's so far removed from what happens in metal where one person tends to engineer, produce, assist, make himself coffee etc.

Thanks Sweetnothing, I'll check that record out!

Edit: Oh man! I knew about that album. I used to LOVE 'The best things' as a teen. That whole thing throws me back to the 90s, where all my favourite music was written.
 
I think that record sounds good for what it is. I really want to hear the new Breaking Benjamin record that Bendeth mixed. Let see how that stands up to CLA?


lolzgreg said:
I have to bring back this old post... I have Underoath's "Lost in the Sound of Seperation" on CD. Is that CLA's mix or Bendeth's? If it's not Bendeths, where can I find it?
Click to expand...
 
Ermz said:
The Breaking Benjamin CD made me realize how much I dug Ben Grosse's mixing style.
Click to expand...

Many many years ago now (holy fuck I'm getting old), I was a runner/assistant in training at his Mix Room studios in Burbank. I had the chance to watch him a bit, but more importantly do alot of his recalls/resets. I learned a great deal from watching him, and he's still one of my favorite mixers, and absolutely one of the most under rated.
 
Ermz said:
One thing that actually really interests me is how one gets to a point where they can assemble a team around themselves as a producer? What do you do for that? Is the team financed by the label, or by the producer? How does that whole thing work... it's so far removed from what happens in metal where one person tends to engineer, produce, assist, make himself coffee etc.
Click to expand...

The days of that being a reality are slowly coming to an end unfortunately. When I started in this business every project I worked on had a producer/engineer/editor/assistant/runner. Every single one. Now the majority of projects are a producer/engineer/interm (aka unpaid runner), and an editor is contracted out to do all editing at one point in a record.

In relation to your question about financing, I guess you could say the label's paid for it, because the producer would write it into the budget. But really it all came from the producer's cut which is why it happens less and less now.

I feel bad for people just starting in the industry now/going to recording schools...they have no idea of the uphill battle that's ahead of them. I tell anyone I meet that is in the process of trying to "make it" that I hope they like mac and cheese and returning bottles for cash.....sad....but true.
 
C_F_H_13 said:
The days of that being a reality are slowly coming to an end unfortunately. When I started in this business every project I worked on had a producer/engineer/editor/assistant/runner. Every single one. Now the majority of projects are a producer/engineer/interm (aka unpaid runner), and an editor is contracted out to do all editing at one point in a record.

In relation to your question about financing, I guess you could say the label's paid for it, because the producer would write it into the budget. But really it all came from the producer's cut which is why it happens less and less now.

I feel bad for people just starting in the industry now/going to recording schools...they have no idea of the uphill battle that's ahead of them. I tell anyone I meet that is in the process of trying to "make it" that I hope they like mac and cheese and returning bottles for cash.....sad....but true.
Click to expand...

That's very unfortunate, but I suppose not entirely unexpected in this era. Thanks for sharing the experiences, as it's always good to get a glimpse into guys working at the top level.

I don't suppose you have anything interesting to share re: the recalls and presets you had to do? Some working tendencies?
 
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