Hey, I was just surfing around In Flames' site, and found a bunch of pics of the drum tracking from their newest cd sessions. Here's the link . Can anyone tell me any of the mic's? I've always been a big fan of the drum sounds Bergstrand's gotten, and am curious as to what he uses. It seems like there's a lot of Overhead mics up there, but I dunno. Any help or info would be cool.
In Flames' Recording of New Album
- Thread starter Exsanguis
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Brett - K A L I S I A
Dreaded Moderator
Now I understand how Bergstrand get those horrible cymbal sounds : too many microphones !!! Hahaha, don't shoot me, I'm just kiddin', but I do think they sound as if recorded "under water" 
Ermz
¯\(°_o)/¯
Hopkins-WitchfinderGeneral
we are children of god
Razorjack
Bass Behemoth
Hopkins-WitchfinderGeneral said:
Same here, that's one of the many arrangement styles I was shown at college.
Razorjack
Bass Behemoth
Nitronium Blood
UM BOARDS' JESTER
I was almost certain that Fredrik was going to be producing the new album.
So back to Bergstrand eh? Oh well.
So back to Bergstrand eh? Oh well.
Hopkins-WitchfinderGeneral
we are children of god
Hopkins-WitchfinderGeneral
we are children of god
Although I found the extremely close placement and large amount of OH's somewhat mystifying, I'm more interested in the mics used. I recognize a few of them, but have never been good at naming them upon sight, unless it's a MD421, 57, or something like that. And as far as the "under-the-water" cymbal sound, I actually like it, as it sounds like it really glues the track together, instead of being more obtrusive. I always seem to like a wash of cymbals instead of each cymbal hit being clear for some reason. Oh well, to each his own.
I understand the idea of separation...but, with cymbols, I would expect a splash, and then a quick sort of dissipation (atleast, that's what I dig...), and when you mic that closely, I don't think you get that sort of effect.
Also - look at Andy's Nevermore micing....those overhead mics are a good bit away from the actual cymbols...
Also - look at Andy's Nevermore micing....those overhead mics are a good bit away from the actual cymbols...
Well, if you look at the respective rooms, you may find a good reason for the difference in placement between Andy and Bergstrand. Bergstrand's room looks like any normal room in someone's house or apartment, while Andy's is a thing of beauty, treated and all that good stuff. My guess is that Bergstrand is aiming for maximum separation, as well as the fact that he probably compresses the OH's a lot, which could potentially bring out the crappy qualities of a small, minimally treated room. By putting them closer, he has minimal room in his OH's. Again, just a guess.
_RiseInside_
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mindglow
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I remember Daniel said in a swedish radio interview that the secret to his drum sound was the sound of the room he recorded them in. I have really liked his sound in the past, and I still do, but I think the productions sound more or less the same and it's starting to get boring. I still prefer his a little more dirty and alive sound over lets say Arch Enemy wich I think has a much too polished and clean drum sound.
Hopkins-WitchfinderGeneral
we are children of god
There are still plenty of subtle differences in all the things he does.
The new soilwork sounds very different to lasy years scarve album for example.
The new soilwork sounds very different to lasy years scarve album for example.
The new Soilwork was primarily tracked at Fascination Street(ex-Kuling) instead of all at Dug Out (only drums were done at Dug Out), so that could possibly have led to a different overall sound. I love Bergstrand's work on the new Behemoth, it sounds absolutely gigantic.
