This has to be one of my favourites. Noticed nobody had yet ripped it on YouTube, so figured I'd save them the trouble 
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Out of all tracks I've worked on...
- Thread starter Ermz
- Start date
JasinElric
Straf Drah Studio
- Apr 25, 2012
- 312
- 2
- 18
Vocals are a bit loud for my taste, but damn man. That mix, even with YT's awful compression is sexual!
Melb_shredder
Orpheus: Melodic Death
Manicompression
doing it for the kids
This is pretty great on all fronts. The elements of the mix sound impressive as does the whole, love the kick, and the guitars. The song is pretty good too, very Gathering era Testament. What amp, cab, mic for guitars?
Custom TS, 5150 II, Mesa OS and modded SM57 if memory serves. I've tried multi-micing a lot, but all it seems to do is increase the amount of post-processing needed so I'm back to trying to nail that shit with one. The amp was a little bit 400Hz heavy so I dropped it in favor of a 5150 III since then, and still have my eyes open for a newer 6505+.
anotherpaul
Member
cfh11
Member
Nuno Filipe
You talkin' to me?
Snare sounds huge but out of "context", its very loud and seems to be sticking too much out of the mix, not blending as it should.
MetalMiller
¯\(°_o)/¯
Too much NIR-Z for my taste
Otherwise great mix! Any info about that Kick? Really love your signature kick sound!
Otherwise great mix! Any info about that Kick? Really love your signature kick sound!
cfh11
Member
i partially agree but it is really driving the music in an aggressive way and i feel like it fits the style. maybe i just like it because i tend to mix my snares really loud
JeffTD
Senhor Testiculo
The band and Troy programmed the drums. They provided an Avatar and Slate snare, and to keep things simple and true to the pre production I figured to use those as the basis of the snare sound, blending some of my own samples in alongside a Nashville room which I've really come to like of late. Bulk of the compression was DBX160, which provided much of that 'forward' sound people are remarking on.
Nothing really specific or out of the ordinary. Just a blend of samples I like to use, manipulated to sit as cleanly as possible while still giving some low end punch. The idea was to have a relatively clean mix, so no parallel compression was used, and I tried to minimize any overlap with the bass guitar.
HOFX
Member
- Apr 12, 2012
- 469
- 0
- 16
I really like this, something quite organic and honest about the whole mix which is refreshing.
Vocals sound present and commanding, perfect amount of reverb / delay on them, automation on that is done well.
Interesting comment on the mic amping, regarding using one mic. I thought the point of a SM57 / Royer 121 combo was to use them as your primary EQ?
Also, Ermz, I thought you'd be on the Kemper train?
Vocals sound present and commanding, perfect amount of reverb / delay on them, automation on that is done well.
Interesting comment on the mic amping, regarding using one mic. I thought the point of a SM57 / Royer 121 combo was to use them as your primary EQ?
Also, Ermz, I thought you'd be on the Kemper train?
I generally find VCC alongside some strategically placed outboard compression tends to create that effect. Ever since going that route, it's been very hard to do straight ITB mixes, as much as I sometimes want to. As much as the outboard and VCC can 'smear' the mix, there are certain vibe qualities you gain which I find more important than any clarity lost. That being said, I made it a point to keep the guitars as 'real' as possible. Entirely real amp chains for both the guitars and bass, all mic'ed up, no direct in of anything used for midrange tonal purposes.
Likewise. We gave it a good shot. It profiled some amps better than others. So far though every time clients have sent me a kemper tone as a mix option, we've managed to destroy it with the amps down at the studio. Not sure if that's due to the patches themselves being lackluster or what, but the kemper has yet to stand up to the real deal on our end. That being said, I'm becoming very happy and comfortable with the reamp set-up we have built. It actually crossed my mind to run a quasi-competition type thing where we challenge people to send us their best kemper tones alongside the DIs and we try to 'beat' them (as much as one can objectively quantify something like guitar tone quality anyway). Might be a bit of fun.
No, I just use a converter loop for my 2-bus compressor. It runs in real-time. After I upgraded to the Avocet, I became unsure about running a loop of the whole mix through converters like the ADI-8s (which came to sound subpar, comparatively) but the vibe of running through a GSSL still trumps using an ITB compressor like the FG-Grey for me, so that's the lesser of two evils in this case. At least until I find a viable upgrade path for my converters. Or until someone finally nails ITB compression and I can sell off my rack
PS. While there's been a bit of contention about the snare sound, I'm surprised not many people mentioned the vocals. I'm so proud of how they came out. Troy and Julz totally nailed it on the way down with a U87. Julz has one of the best vocal timbres I've ever heard for a screamer. When he nails it, it's timeless. Since they used the condenser, I got to manipulate the 'air' frequencies so much better than the other 95% of times where screamers use an SM7. I suppose you can't hear the top-end too well on the swirly YT encoding, but man... I was really happy with how the vocal rasp was married to the cymbals and guitar on this one. To me this album is 90% about what the rhythm guitars and vocals are doing. That's where Eye of the Enemy lives.
PS. While there's been a bit of contention about the snare sound, I'm surprised not many people mentioned the vocals. I'm so proud of how they came out. Troy and Julz totally nailed it on the way down with a U87. Julz has one of the best vocal timbres I've ever heard for a screamer. When he nails it, it's timeless. Since they used the condenser, I got to manipulate the 'air' frequencies so much better than the other 95% of times where screamers use an SM7. I suppose you can't hear the top-end too well on the swirly YT encoding, but man... I was really happy with how the vocal rasp was married to the cymbals and guitar on this one. To me this album is 90% about what the rhythm guitars and vocals are doing. That's where Eye of the Enemy lives.
Melb_shredder
Orpheus: Melodic Death
After seeing them live a few times now off the back of this album, it's obvious just how much Julz has improved his tone and control in the last few years. You've definitely done a great job of showcasing that with the album that's for sure. Although the guitars are quite obviously what EotE is about, it seemed to me like they were maybe a bit thin in this mix overall especially with how big the snare sounds/ prominent the vocals are comparatively. That's the only thing I felt maybe wasn't at that 'excitement' level as with the first album.
cfh11
Member
i remember TLA talking about his love for for the dbx on snares as well... damn i gotta pick one of those up
edit: which dbx160 do you have? (x,xt,a,vu)
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