Let's talk Bergstrand

Maybe I'm the only one, but I like Demigod and the Apostasy equally. I think they're both great as what they are.

I also have to say that holy shit Behemoth are just the most fucking METAL band.
 
abyssofdreams said:
Anyhow, the kick is HUGE, not a typewriter sound at all. The ultratight Devildriver kick Andy mixed is closer to a typewriter sound for me which, oc works for that record anyways. And the snare isn't small? It's just very airy, again some nice 8k boost in there. Agreed, it's fairly low in the mix but cuts through quite nicely nonetheless and punches!
Click to expand...

Wow.. I just put the three tracks into Sonar then.. wow. Solo'd the drums sound pretty bad. Admittedly the snare isn't THAT thin but I still think the kick sounds like a typewriter. With the guitars and bass though.. wow they just slot in perfectly and bring out the drums' roomy sound instantly. Never would have thought you'd be able to get such a roomy sound when I heard the solo'd drums.

Whenever I mix I try to make the 'mix' not take away from the instrument sounds too much, but in pro mixes the mix makes everything better. I have so long to go... Only problem I see with these kind of mixes is whenever any instrument cuts out the mix would fall apart, wouldn't it?

There's no multi-tracks for anything from Reroute to Remain, are there? I would kill for some of those..
 
Keep in mind the multi-tracks from guitar hero have been processed differently to the actual song mix. When you sum everything, it sounds much more scooped and less subby. A Curve EQ match brought up quite a wide bit around the 1k area, some subs, cut some midbass, cut some high mids and cranked some superhighs.
 
Sinister Mephisto said:
Maybe I'm the only one, but I like Demigod and the Apostasy equally. I think they're both great as what they are.

I also have to say that holy shit Behemoth are just the most fucking METAL band.
Click to expand...

Hahahaha, you got that right man, they're easily my favorite extreme band bar none, and while I definitely prefer the production on "The Apostasy" (especially the kick), IMO Demigod edges it out ever so slightly as far as the music is concerned.
 
lordcthulhu said:
How loud d'ya want them? All that matters are Inferno's epic China cymbal bits, such as the one in At The Left Hand ov God.
Click to expand...
Yeah pretty much, Inferno doesn't seem to hit his cymbals very hard except where it matters. I sure don't want 16ths on the hat or ride bell blaring in my ear for half the album. And I think the mix on that album is way better than the Demigod mix, but I too prefer natural sounding mixes for the most part.
 
i largely prefer the apostasy over demigod, as far as the writing is concerned. demigod does next to nothing to me, whereas the apostasy kicks HUGE amounts of ass imho.
production wise, i also prefer the apostasy....sounds more punchy and raw to me. demigod is very very clear, though...just lacks some of the impact the apostasy has.
one thing though....is it just me, or does apo. sound like clip-city?? especially the low mids seem to be a troubling area, check slaying the prophets of isa, the first riff.
it's also amazing how apparent the sampled kick sound becomes when the rest of the drums remain 100% natural....imho at least.
 
I think that the drum sounds are louder on Demigod so people appeal to that more. Although I do have to say that the toms on The Apostasy sound so amazingly natural.
 
From the YouTube videos, only the kicks are sampled on the Apostasy.

I really love that CD.. I agree with it sounding really crushing, but natural - it doesn't sound like it's been played with digitally more than is required.
Everything just fits nicely, and there's a lot of "space" in the mix for the instruments.

Really helps that they're all SICK players too, so that's probably made the job easier when the musicians have an idea about direction and their "sound".

I'm not a massive fan of the over dominant sound on Satanica, but I'm sure if I went back and listened to it - I'd still enjoy the songs.

Behemoth are a proper awesome black (still?) metal band.
 
That thread on slutz has been added to:

I come here late but I'd like to contribute to this conversation.
My band recorded an album in 2002 with Daniel Bergstrand. We went there twice. Three weeks to record the instruments in June et 10 days for vocals in november.
At that time I was not really into recording techniques, so I don't remember exactly the names of the mics he placed. But I remember a few things that he told me:

He never triggers drums, excepted when the drummer is not consistant in the way he hits. He is a perfectionist and would spend an entire day tracking drums for only one song if necessary.
The triggers on the toms and the snare are sidechained to the noisegate, so everytime the drummer hits them, it opens the gates.
I remember though that he only used one microphone as a room mic for the drums. The room was pretty live and he used that mic at about 12-15 feet from the drumkit.
I also remember that at the time he recorded us, the studio was under construction. So there were pieces of carpet everywhere. He cut one of them and rolled it around the snare mic, and put a shirt at the other end of the carpet for noise not to come from behind. He did that for two reasons: He thought that the snare would sound a bit more snappy that way (it was a pretty high pitched snare), it also helped him reduce the sound of the hi hat into the snare mic everytime the gate would open.
I remember that he recorded the bass through a Marshall Valvestate (for guitar!!!) and through a DI.
We recorded the guitars at Orjan Ornkloo's studio (guitarist of Misery Loves Co), who was his assistant at the time. He had a small "home studio" with just a 16 channels behringer mix desk. We recorded through a 5150 (I think that he has most of his bands recording through that amp), and a POD simultaneously. There was indeed, as I read earlier on this forum, three noisegates. I believe that one was between the guitar and the amp , one between the amp mic and the board, and the other one between the POD and the board. The amp was set very loud, so one of the gates was to avoid feedback, the gate between the mic and the desk was to avoid breathing. I don't remember the utility of the gate between the pod and the desk though.
I also remember that he would touch the woofers of his speakers to feel the bass, especially when comparing our mix to some reference cds that he had in his studio. That was the only time that I saw someone do that. That was pretty cool actually.
He is the type of producer who wants everything to be perfectly at its place, he didn't use protools at that time though. He would record everything to ADAT through an AMEK TAC Scorpion desk.
That's all I remember for now.
I don't have pictures of our sessions with him, my old guitarist has all of them, but I'm sure that I'll remember some more things if I see them.

http://www.gearslutz.com/board/3799668-post44.html
 
the business of thin guitars and the bass giving the meat of it can produce some awesome effects. Just listen to the great southern trendkill and all that bottom end power is from the bass, while the guitar on its own is a horrible fizzy solid state mess......but together its pure gold

It does require players who are very tight playing wise though
 
skeksis268 said:
the business of thin guitars and the bass giving the meat of it can produce some awesome effects. Just listen to the great southern trendkill and all that bottom end power is from the bass, while the guitar on its own is a horrible fizzy solid state mess......but together its pure gold

It does require players who are very tight playing wise though
Click to expand...

the problem with this technique is that

1. when the rhythm guitars play a solo part in a song they sound übershit
2. guitars sound less "cabby", meaning all that cab-weight is just flushed down the toilet if you highpass them to such extremes and IMHO that should be avoided but it is his style and it seems to work quite nicely for a mix.

I'd rather have more depth to my guitars though.
 
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