So I thought to myself this morning, "has Watershed leaked yet?", so I did a search on youtube for "opeth watershed" and found these:
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Opeth - Watershed leak
- Thread starter Virgil.
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prowlergrig
AnoThoR Fan
prowlergrig
AnoThoR Fan
well i'm not sure if it's allowed/moral to post the link here, but the address is obvious from those videos
I don't see what the big deal is. I didn't make the videos. I'm just posting them here for everyone considering most on this forum are Opeth fans. Considering Sneap did a few of their projects, I think it's OK. :Smug:
I for one check this forum daily as opposed to other forums which I visit maybe once a month or never. I'd rather share my findings with those I frequently associate with on here rather than some mp3 forum that no one cares about.
If this thread is not allowed, let the moderator delete it then.
Ermz
¯\(°_o)/¯
From what I can tell the production is nothing short of amazing. Seemingly the best sound Opeth have had... especially the drums. I'd say Axe's disposition towards the heavier stuff probably lends itself to punchier sounds. The music... well... I'll need a few days... or months.
Exocaster
Nozzle
- Aug 29, 2005
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The production on this is really nice. Better than Ghost Reveries. I think Jens Bogren is a really good fit for Opeth. Axenrot's drums sound great- much deeper than I'm used to hearing on an Opeth record, and a lot of crack in the snare sound- not just pop from the top mic. Sounds to me like he's a harder hitter than Lopez as well.
The guitar tones are fantastic as well. Mikael's voice is in fine form, and the oboe in Porcelain Heart is a nice touch.
I can't wait for this to finally come out so I can hear what it's really supposed to sound like, not some mp3s some random guy ripped from a promo copy and put up on the web.
The guitar tones are fantastic as well. Mikael's voice is in fine form, and the oboe in Porcelain Heart is a nice touch.
I can't wait for this to finally come out so I can hear what it's really supposed to sound like, not some mp3s some random guy ripped from a promo copy and put up on the web.
JeffTD
Senhor Testiculo
Holy fuck... I never thought I'd hear blastbeats in Opeth, and definitely never under clean vocals. I also never imagined it to sound THAT FUCKING GOOD! This has, yet again, solidified Opeth as my favorite band in the world.
KeithRT99
BOOSH.
deanbailey
O.C.D Member
DSS3 if you like the idea of blasts under clean vocals check out Akercocke. I rate them. Anyways this new Opeth shit is amazing.
JeffTD
Senhor Testiculo
Aye yeah! I absolutely love "Words That Go Unspoken, Deeds That Go Undone"! Great band, for sure, if a bit 'off' at times, you know?
Zack Uidl
Member
Ermz
¯\(°_o)/¯
What do you guys make of those drums? Mainly room mics on that ambience... quite a bit of parallel compression for fatness? I love the sound, it just works for Opeth so well. It's naturally woody sounding, yet tight and well engineered.
Exocaster
Nozzle
- Aug 29, 2005
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I love that drum sound. I've never been fully satisfied with the drum sound on an Opeth album before. Deliverance came closest, but that whole thing was a save job on Andy's part, from all I've heard. I like the depth and fullness of the tones, the crack of the snare, and the kick sits nicely in the mix without being clicky- that's a really fat sounding kick drum. Those toms are massive as well. It's a very different drum sound for them; much deeper and weightier, but it does work well for them. It's very powerful, and most importantly, it sounds like real drums. Opeth's music really lends itself to natural, organic sounding tones as opposed to heavily processed ones.
Ermz
¯\(°_o)/¯
Yeah, and in that regard I think the production on Deliverance really fit them the least. Whilst I can accept it was a salvage job, Andy still did the typical 'stamp their sound' approach and that 'tick tock' stuff on the drums just didn't cut it IMO.
The drums here are great, I agree. It's a bit more of a natural/rock approach, which is great. The whole 'click snap, click snap' thing with totally dry samples and Dverb is getting pretty worn. Just trying to work out what sort of techniques went into it. I'm fairly certain a majority of that ambience is some good room mics, and parallel compression to add weight to those sounds. I only experimented with parallel compression on the whole drum bus recently and it gave a similar sort of weight, which I loved.
Can't wait to listen to the actual CD. There's so much automation in these mixes, which lends itself so great to all the production ideas the guys were trying to pull off. The music is growing on me more and more as well.
The drums here are great, I agree. It's a bit more of a natural/rock approach, which is great. The whole 'click snap, click snap' thing with totally dry samples and Dverb is getting pretty worn. Just trying to work out what sort of techniques went into it. I'm fairly certain a majority of that ambience is some good room mics, and parallel compression to add weight to those sounds. I only experimented with parallel compression on the whole drum bus recently and it gave a similar sort of weight, which I loved.
Can't wait to listen to the actual CD. There's so much automation in these mixes, which lends itself so great to all the production ideas the guys were trying to pull off. The music is growing on me more and more as well.
Exocaster
Nozzle
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The drum sound is definitely one I associate more with hard rock than a modern metal mix. It reminds me of Tool's 10,000 Days a bit. I think that approach works for them really well. In fact, that reminds me of something I posted in the Opeth thread in the Sneap Produced Albums forum:
...and it sounds to me like that's exactly what they did. Mikael's got the best clean tones of anyone in metal, IMHO. That just on the edge of breakup sound is great.
Edit: sounds like parallel compression to me as well. I've been experimenting with it recently myself, and that's the sort of sound it imparts. I like how you can really slam the compressor on the bus for the parallel drums and still keep the attack from the dry(er) drums in there. And I think you're right about the room mics.
...and it sounds to me like that's exactly what they did. Mikael's got the best clean tones of anyone in metal, IMHO. That just on the edge of breakup sound is great.
Edit: sounds like parallel compression to me as well. I've been experimenting with it recently myself, and that's the sort of sound it imparts. I like how you can really slam the compressor on the bus for the parallel drums and still keep the attack from the dry(er) drums in there. And I think you're right about the room mics.
Ermz
¯\(°_o)/¯
Yeah, your comment nailed it for sure. However, I think we saw the transition on Ghost Reveries... that was bordering on an atypical metal drum mix too. Albeit it was a bit thin on the whole, I think Jens was probably able to get a lot more of what he wanted out of Axe, seeing he comes from a metal background.
Exocaster
Nozzle
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The kick on GR is more what I expect a "metal" kick to sound like, and the snare just got annihilated with compression. It's a very dry sound, though. A bit of room (think the Beneath The Mire intro) and that's it. Almost '70s sounding. I do see the transition there; it's a very odd hybrid sound.
I'm really liking the guitar sound on these so far. It's darker and fatter than GR. I'm curious how much of that is Fredrik's Marshall JVM.
