Josh Burgess
Member
Downloaded. Will check out when I get home later. Is the bass (vsti) at a good level? I'm hoping it's lower in the mix this time.
Guitar Tone Competition 3: Files and rules
- Thread starter MarkG
- Start date
B36arin
Member
- Dec 1, 2008
- 896
- 2
- 16
There was no need to drop the backing track to -12dB, even I managed to get it to fit with 6dB of headroom, and I'm an amateur compared to a quite a few of the guys on here. Great job on the backing track Ermz, and great DIs Jeff! Kudos to both of you, this has been a lot of fun so far even though I only have access to amp sims.. I usually can't get DIs that are this good, it really tells you a lot about how much of the tone actually comes from the guitar and fingers.
JeffTD
Senhor Testiculo
Can we get some info about drums,bass and vocals?They are awesome produced!Thank you guys!
The drums and bass were both programmed by me, Superior 2.0 Avatar and Trilian for bass. As I mentioned, used two Trilian models - hardcore bass (fingered) and one other, think it was the standard rock picked one (stingray model).
Javi used some kind of SE mic and his onboard Edirol (I think?) preamp for vocals.
As far as the actual mixing goes, Ermz will have to chime in on that - I just supplied him with bounced bass tracks, my POD tracks that I monitored with, a MIDI for the S2.0 and a preset for which drums/cymbals I was using while programming.
I know he blended one sample with the Nir-Z snare, kick was fully replaced, and toms were all Avatar (coated head).
theforgotten
Member
Ermz
¯\(°_o)/¯
As Jeff said the snare was blended with some samples I have, yet still very Nir Z heavy, and the kick was totally replaced. I don't think I messed with the toms he set up in the SD2.0 session, so they must be coated. I actually didn't give much attention to the toms at all in the mix, which I regret a bit, though the fills aren't all that prominent musically, so it's not a huge loss. Under normal circumstances I'd switch straight to the clear headed toms.
Cymbals were high boosted with Nebula (AlexB's BMQ). EQ involved cutting out some mids, boosting lows, and high passing around 100hz. I wanted to get snare low-end from these.
Room mics were a large part of the sound. Annihilated with CLA-76 Blacky, all buttons in. Some EQ to clear things up, and I reduced the cymbals bleeding into them on the Superior mixer by a ton so I could get away with the huge GR without destroying the cymbal sound.
Bass was the two patches Jeff sent over combined. He never intended for that, but there was no instruction manual so I just booted up and did whatever sounded best!. They were reamped into my Sansamp PSA-1 with fairly high gain. Processing was very rock-oriented again. High pass at 90hz, but a bell boost at 66hz using the G-channel to compensate. Slammed with two 1176s, back to back, different settings, then tamed with an L1. Oh and I used that Studio Devil bass amp thing this time! Way more tweakable than Ampeg SVX.
Guitars don't matter as they're throwaway POD tracks.
Vocals were very rock oriented once again. I think RDesser first, followed by RVox, an L1 then my hardware 1176 Rev A. Heavy reduction on each one. Either Soundtoys Decapitator or URS Saturation for some extra grit. Can't remember whether or not I used a C4 on 'pop vocal' preset to start. EQ I can't remember, except that I used Nebula for high-end again. The main diff between the growls and cleans is that growls are the 1176 Rev D, whereas cleans are Rev A.
Backing vox were treated with RDesser, LA-2A, 1176 Blue (plug-in), L1 and then EQ'd to cut away their high mids, making them duller so the lead track would stick through.
Delays were Echoboy and verbs were Lexicon PCM Native. Room and Vintage Plate on vox, can't remember what on drums. Delays had all sorts of stuff. Just a straight mono 4th, a stereo 2nd that was saturated and almost telephonized, and of course stereo 4ths with my favourite 'Telray' setting for backings.
Cymbals were high boosted with Nebula (AlexB's BMQ). EQ involved cutting out some mids, boosting lows, and high passing around 100hz. I wanted to get snare low-end from these.
Room mics were a large part of the sound. Annihilated with CLA-76 Blacky, all buttons in. Some EQ to clear things up, and I reduced the cymbals bleeding into them on the Superior mixer by a ton so I could get away with the huge GR without destroying the cymbal sound.
Bass was the two patches Jeff sent over combined. He never intended for that, but there was no instruction manual so I just booted up and did whatever sounded best!. They were reamped into my Sansamp PSA-1 with fairly high gain. Processing was very rock-oriented again. High pass at 90hz, but a bell boost at 66hz using the G-channel to compensate. Slammed with two 1176s, back to back, different settings, then tamed with an L1. Oh and I used that Studio Devil bass amp thing this time! Way more tweakable than Ampeg SVX.
Guitars don't matter as they're throwaway POD tracks.
Vocals were very rock oriented once again. I think RDesser first, followed by RVox, an L1 then my hardware 1176 Rev A. Heavy reduction on each one. Either Soundtoys Decapitator or URS Saturation for some extra grit. Can't remember whether or not I used a C4 on 'pop vocal' preset to start. EQ I can't remember, except that I used Nebula for high-end again. The main diff between the growls and cleans is that growls are the 1176 Rev D, whereas cleans are Rev A.
Backing vox were treated with RDesser, LA-2A, 1176 Blue (plug-in), L1 and then EQ'd to cut away their high mids, making them duller so the lead track would stick through.
Delays were Echoboy and verbs were Lexicon PCM Native. Room and Vintage Plate on vox, can't remember what on drums. Delays had all sorts of stuff. Just a straight mono 4th, a stereo 2nd that was saturated and almost telephonized, and of course stereo 4ths with my favourite 'Telray' setting for backings.
theforgotten
Member
theforgotten
Member
I think we'll stick to the no editing of the DI tracks rule. For consistency's sake I don't want some people cutting it off while others leave it. Who knows, might affect the voting
I don't really have the patience to go through 100+ submissions to edit the tracks either This also goes for the manual gating. I see the problem, and normally I would be for manual gating. However, I do consider this editing of performance, which should remain constant between participants. Do the best you can without manually editing the silences. Sorry to dissappoint, but I don't want to create an unfair bias.
Eddy
Old fart on this board
I dl'ed the song just to mess around with it, and I have to say it's damn catchy tune! Been ringing in my head since yesterday!
lolzgreg
Cereal Shipping Sneapster
Ermz,
I already ran a few test reamps and I really think that these vocals are too dark for the rest of the mix, especially when you get some bright, crunchy guitars in there. They are definitely not on par in high end content with most favored metal mixes around here too. Check it out for yourself.
I already ran a few test reamps and I really think that these vocals are too dark for the rest of the mix, especially when you get some bright, crunchy guitars in there. They are definitely not on par in high end content with most favored metal mixes around here too. Check it out for yourself.
Ermz
¯\(°_o)/¯
lolzgreg
Cereal Shipping Sneapster
I'm aware the chain he used wasn't the best, but I'm sure that you can do better with it than you have.
Morgan C
MAX LOUD PRESETS¯\(°_o)/¯
Can I cut out the 2nd pair of rhythm guitars during the melody bit? So it just goes to double-tracked, then back to quad-tracked when the solo kicks in? Or do I have to use the guitars AS IS (just means automating ALL the rhythm guitars down during the melody, wouldn't really make a huge diff)
JeffTD
Senhor Testiculo
kramer1309
Member
Hey, there was a package download link that seems to have been taken down? I should use these instead?
