Ermz
¯\(°_o)/¯
^ Well I think that much is obvious in that the Behemoth mix is almost identical to 'The Blackening', sans the being mastered hotter and being a bit clearer and punchier.
Everyone has their own take on this but to me, imprinting one's own sound over each band is the cardinal sin of mix engineering. It homogenizes the artists, and only serves to aid the mix engineer by consolidating their 'trademark sound' which ensures repeat clientele. Half the battle is working out which sound world that particular band belong in. Where is the challenge and appreciation in using cookie-cutter, go-to methods that obviously don't work for the band in question? It's actually ridiculous to me just how much the Demigod production pisses on Evangelion simply in terms of being more suitable to the artist. I'm almost inclined to say I like the horrid production on The Apostasy better because it's at the very least more suited!
I think one thing that's commonly forgotten in the modern era is that there are qualities to a production that go beyond being clean and slick. Those two qualities don't make an album timeless. In most cases they date it.
Honestly when I listen to Evangelion it feels to me like Machine Head went for a lunch break and Behemoth stepped in and tracked the rest of the album. The fact that it's so ill-fitting makes it incredibly difficult for me to enjoy the album musically, and that's probably what angers me most. When the engineering gets IN THE WAY of good songwriting because it doesn't evoke the correct soundworld. Honestly it seems like a waste to have had so many big names on the record. Next time they should just do the entire thing with Bergstrand, or finance Nordstrom to track and mix the record, analogue style and recapture some of that timeless fatness.
Sorry for the rant, and I know many of you will disagree. I just feel strongly about this. I get no joy from seeing guys in this profession going through the motions. It's soulless, and one of the many things that are wrong with the industry, IMO.
PS. Honestly, who's idea was it to have those fizzy rhythm guitars on this record? Surely the Hertz guys must have captured something that pissed on this tone? What happened to the 6 tracks, rectifiers etc.? This isn't Behemoth.
Everyone has their own take on this but to me, imprinting one's own sound over each band is the cardinal sin of mix engineering. It homogenizes the artists, and only serves to aid the mix engineer by consolidating their 'trademark sound' which ensures repeat clientele. Half the battle is working out which sound world that particular band belong in. Where is the challenge and appreciation in using cookie-cutter, go-to methods that obviously don't work for the band in question? It's actually ridiculous to me just how much the Demigod production pisses on Evangelion simply in terms of being more suitable to the artist. I'm almost inclined to say I like the horrid production on The Apostasy better because it's at the very least more suited!
I think one thing that's commonly forgotten in the modern era is that there are qualities to a production that go beyond being clean and slick. Those two qualities don't make an album timeless. In most cases they date it.
Honestly when I listen to Evangelion it feels to me like Machine Head went for a lunch break and Behemoth stepped in and tracked the rest of the album. The fact that it's so ill-fitting makes it incredibly difficult for me to enjoy the album musically, and that's probably what angers me most. When the engineering gets IN THE WAY of good songwriting because it doesn't evoke the correct soundworld. Honestly it seems like a waste to have had so many big names on the record. Next time they should just do the entire thing with Bergstrand, or finance Nordstrom to track and mix the record, analogue style and recapture some of that timeless fatness.
Sorry for the rant, and I know many of you will disagree. I just feel strongly about this. I get no joy from seeing guys in this profession going through the motions. It's soulless, and one of the many things that are wrong with the industry, IMO.
PS. Honestly, who's idea was it to have those fizzy rhythm guitars on this record? Surely the Hertz guys must have captured something that pissed on this tone? What happened to the 6 tracks, rectifiers etc.? This isn't Behemoth.
