You are an amazing producer,i like very much the sounds of band like attack!attack!,before their eye,devils wears prada...please,can u help me?i have pod x3 syncd with s/pdif input of motu 828 and at 3035 for the voice..like you i think...please can u explain your pod sound and vst chain for guitars of band like those and the chain for the vocals?please please please,with these informations you can help me with my first works..thank u very much..
For producer of Before Their Eyes (Sturgis)
- Thread starter mattia.7
- Start date
Zombietakeover
Member
His username on here is Joeymusicguy
search for his name and look up his post history......He has posted what he uses and presets for many things.
search for his name and look up his post history......He has posted what he uses and presets for many things.
alan1990
Member
Metal shop diamond plate model with the tredplate cab. The mic is the condenser . A cut at 4k and , 800hz, with a boost at around 8k. that should get you in the ball park. You can also see alot of what he is doing if you watch his studio videos.
Im probably one of the few on these boards thats into attack attack I saw them last Saturday in Pontiac MI with Escape the Fate
Im probably one of the few on these boards thats into attack attack I saw them last Saturday in Pontiac MI with Escape the Fate
Joshua Wickman
Yes Sir!
Than u guys..i found his post but i found for examp0le only the cut at 4k in the eq..now i know more things (800 hz and 8k) 
and vocals?
and vocals?
Wait for Joey to see the thread, just try and keep it bumped near the top and I'm sure he'll chime in when he gets some free time.
~006
~006
alan1990
Member
joeymusicguy
Member
for guitars i use pod farm (now), used to use a pod xt. im not into the x3, the dual mode is just retarded to me (anybody else?). first off, you can't really take a guitar signal and run it into two different amps and get the same sound you'd get as if you took two DIFFERENT guitar signals into different amps. im talking about dual tracking. but i dont really do much of that unless the song requires it (aka when the guitar is the most important instrument in the band / song).
also try turning the cab sim off and use external cab sim. try recabinent, its pretty sweet. i havent used it on anything but it will get you more digestable (spelling haha) sounds than the pod cab simulations.
let it be known that i use an AT4040 for vocals now haha.
i just compress the crap out of vocals. i use a 1176 emulation from my UAD card, and pretty much set everything at 100% except for the output volume
put a de-esser in the chain. if you get someone that has some loud ass sustain with little attack to their voice, you might need to pull back on the attack a bit so more of the transient of the voice comes through. ratio on 20:1 who needs dynamics lawl...
best of luck
Thank u very much for the informations joey..for the guitar,what do u put in the chain of post processing?
I'm new to this forum, so hey all.
OK, so I'm wondering. You don't use any live amps at all when you record? You did mention that sometimes for specific cases you did, but for the most part you do not?
I've always been blown away with how good your recordings sounds with minimal gear. Not to say that you have crap, but in all the pictures of your studio I haven't seen any distressors, api, and other pro studio staples. A lot of people on this forum have deff opened my eyes to the fact that you can make great sounding recordings without a huge investment.
OK, so I'm wondering. You don't use any live amps at all when you record? You did mention that sometimes for specific cases you did, but for the most part you do not?
I've always been blown away with how good your recordings sounds with minimal gear. Not to say that you have crap, but in all the pictures of your studio I haven't seen any distressors, api, and other pro studio staples. A lot of people on this forum have deff opened my eyes to the fact that you can make great sounding recordings without a huge investment.
It's not about the gear half the time man, if you know how to use what you've got you can take it very far. Joey is an excellent example of this. What I've come to realize in my time is that having top-shelf gear only makes it easier to "get there." The biggest factor is experience
It's not about the gear half the time man, if you know how to use what you've got you can take it very far. Joey is an excellent example of this. What I've come to realize in my time is that having top-shelf gear only makes it easier to "get there." The biggest factor is experience
You are so right man.
I have wasted so much fricken money trying to find that one thing that would make my stuff sound "pro".
I remember a band giving me a cd of what they wanted their recording to sound like. After listing to a song. I wrote them back telling them that the recording was done in a "pro" studio, and prob cost tons of money. I felt like a huge ass when do some research I discovered that is was done by Joey in a garage with half the gear I had. lol.
not a fan boy, but I give the dude full respect.
joeymusicguy
Member
i'll be honest with you man, im not a gear junkie in the slightest.
it all comes down to paying attention to detail. i literally figure out what everyone in the band is doing at any particular part in a song and analyze it. you'd be suprised to find a lot of times, dudes are playing shit that doesnt work right. no magical mix is ever going to make that sound good unless you're eqing out frequencies so crazy that bad notes are dissapearing.
at the end of the day, if the recording is even of mediocre quality, the song will sell its self.
as far as technical shit goes, im a "in the box" kinda dude. i owe all of my "sounds" to plugins and knowing how to use them. its not like there's a plugin called "magic widen", but i know what plugins to use, in what order, in what situations to make "widening" happen. get what i'm saying?
it takes a lot of experimentation to figure out all of this stuff unless there's a school that teaches it. i had to teach my self because i knew no other way. and since it was the only thing i wanted to do, i achieved it because i stopped at nothing to find the sounds i was after.
most of my days, now, are spent figuring out unique and exciting ways to enhance songs, rather than worrying about my eq or compression settings. i've gotten that far and im never looking back. honestly i feel that more time should be spent in the area of, what are you doing for the song, than what are you doing for the tones.
i've had a lot of people say my stuff sounds amazing, but im not sitting here for hours trying to get it that way. it honestly just sounds like that, tracked. you could maybe compare my plugin settings to the way chris lord alge works. lots of static settings. it works. it all comes down to mastering which is almost like hitting a magic "boost" button to the raw tracking. if you have a clean production / editing, then the final result will be clean. its about convincing your self you must go in to EVERY track and EDIT everything. dont tell your self "no one will ever hear that" because someone will. and if they don't, the flaws will contribute to the bigger picture.
i dont know man. there are so many kids out there tryin to do this and i dont think many of them have the right mind set. believe me if i could be sitting anywhere right now it would be right here in front of my computer. not in a studio with a shit ton of gear. fuck that. i want to hear songs, good lyrics, a good voice. give me that and i'll run a marathon with it if i can.
my whole goal in doing any of this is to someday get up to that point where im in the loop for working on a big single / grammy nomination?? it takes a long time to get there, but i have a lot of understanding of how all of this works already. if i had my choice of work, i'd probably be producing pop right now haha. but i've found a niche in the "heavier" genres so im sitting there paying the bills.
get familiar with the tricks of the trade. find the records that interest you the most and listen to them. eventually you'll naturally find your way in to getting everything to click.
joeymusicguy
Member
i've never once heard a live amp sitting in front of me that i've liked, other than my friend's mesa. its all garbage. big ups to all the dudes who can track that shit and make it rock in the mix. i just can't. i've tried man. its always whacked out to me. too much 2k, too much 4k, fuck why is that so noisy, your chugs sound like farts, too boomy. i dunno, its always something. and im smart enough now to know, a lot of amps are broken. no one hardly ever services their tubes. and since i dont own my own amps, i can't mess around with reliable gear, im always trying to track this shit with touring gear, which sucks!!!!!!!!
when i finally got the pod in the sound range i was looking for, i didnt see a reason for "being able to perform" any other way. its like telling a olympic swimmer to win the gold medal he won 4 years ago, except this time he's gotta do it with just one arm or something. dont fuck with shit that aint broken. who gives a fuck if there was actually an amplifier pluggged in and on sitting in front of a mic. listen to the song.
K Odell
\=/Varnisher\=/
So I'm curious. Do you track guitars just like you would if there was a "real" amp?
for example 2 tracks L 2 R so on, and so forth?
I'm thinking if you where running that many instances of podparm you puter would be taking some major cpu craps.
I feel the same way about live guitars. The only guitar tone I ever got which I liked was with a royer 121. Also I suck so...
for example 2 tracks L 2 R so on, and so forth?
I'm thinking if you where running that many instances of podparm you puter would be taking some major cpu craps.
I feel the same way about live guitars. The only guitar tone I ever got which I liked was with a royer 121. Also I suck so...
Sacha
Throbbing Member
Good post man. It applies to anything really, live and breath it, don't EVER settle for 'good enough', and you will certainly get somewhere.
joeymusicguy
Member
make two input channels
example:
Mackie 8
Mackie 8 (2)
rename the first one to GTR DI
rename the second one to POD FARM
set the input on both to the same input
put the pod farm plugin on the POD FARM input channel
make two tracks, set the input of the first one GTR DI
set the second input to POD FARM
record both tracks
you get di, and pod farm
no cpu struggle
need to reamp? be prepared to set, and export a lot
joeymusicguy
Member
Similar threads
