Please check out my EP! (Sneapster guest solos + re-amp)
- Thread starter Metaltastic
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MarcusGHedwig
Member
LeSedna
Mat or Mateo
Wasn't it the video where you were riffing, because you wanted us to help you find the name of the artist or song it was from ?
This replica is epic
This replica is epic
Jind
Grrrr!!! (I'm a bear)
- Mar 7, 2009
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Works for me dude! Hope no one else has had this problem
Now it's working for me - seems I've been having internet issues all day today.
Marcus- I'm down for another couple tunes. I can't wait to make more nerd vocal wanking. My lyrics have got to be the stupidest things ever written!
MarcusGHedwig
Member
LeSedna
Mat or Mateo
AudioGeekZine
arsehole know-it-all
Gonna do some mastering on this?
I went from Gojira to Apex Predator and while it sounds good...it doesn't sound finished.
I went from Gojira to Apex Predator and while it sounds good...it doesn't sound finished.
MarcusGHedwig
Member
Well it's definitely softer than Gojira as I didn't wanna push too hard (and I'm not Logan Mader Or whoever mastered TWoaF, which I assume is what you were spinning), but nah, I've closed the book on this; my feeling is there comes a time when you just have to stop on the production of something and put it out there, and then in the future it can serve as a reference for what to do (and not to do) for later projects! Anyway, I certainly hope it didn't impede your enjoyment of the music
And Mat, it's Blue Waffleuke:
Or whoever mastered TWoaF, which I assume is what you were spinning), but nah, I've closed the book on this; my feeling is there comes a time when you just have to stop on the production of something and put it out there, and then in the future it can serve as a reference for what to do (and not to do) for later projects! Anyway, I certainly hope it didn't impede your enjoyment of the music And Mat, it's Blue Waffle
uke:
LeSedna
Mat or Mateo
MarcusGHedwig
Member
SocialNumb
Damn Christians!
Keregioz
Kimon Zeliotis
When I first heard about it I immediately got an image in my head and it turned out it was right
. Only the real thing was far worst. Stay away...seriously.
Line666
Fendurr
- Sep 2, 2006
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Depends on whether you valuable your eyeballs/any upcoming untroubled sleep you had planned.
WOW! Excellent mix, tight rhythm playing, and sick solos! love it!
Marcus,
I read your thread question about how to handle the bass and stuff, and I was just wondering what you ended up doing? Did you sidechain the Kick to the bass? If not, where did you cut through the bass for the kick? Where in the spectrum does your bass sit and where does your kick sit and guitars start?
THANKS!
Marcus,
I read your thread question about how to handle the bass and stuff, and I was just wondering what you ended up doing? Did you sidechain the Kick to the bass? If not, where did you cut through the bass for the kick? Where in the spectrum does your bass sit and where does your kick sit and guitars start?
THANKS!
MarcusGHedwig
Member
Thanks man! Truth be told though, I didn't really do much in the way of crazy surgery for one to sit with another and stuff; the bass was 100% Ermz' re-amped grit track (no DI), which was nicely cleaned up in the low-end (not sure what all he did, come to think of it - Ermz, info plz? ), though I did cut at around 500 Hz and 1k, as well as at around 3k to slightly ease the pick attack noise, and a bit of multi-band compression set to constantly take off maybe 2 dB in the 100-300 Hz mud range.
Guitars just had tiny dips (between .5-1 dB) at 400, 700, and 2.5k and were hi-passed at 60 Hz (and multi-band compression, also at 100-300 Hz, though set Sneap-style to only kick in on the whoomp on the palm mutes, taking off around 4 dB as I recall), and for the kick, just a boost around 4.5 k for some clickity-click, and some pretty heavy multi-band compression again at 100-300 Hz, constantly taking off I think like 5 dB (those Slate kicks are pretty massively boomy), and also maybe taking off 1-2dB from 100Hz downward; personally, I really like multi-band compression for controlling the low-end, rather than eq'ing, just cuz I find it easier to control large bands while still having pretty sharp cutoffs at either end! (e.g., taming the 100-300 range without affecting the sub-lows)
), though I did cut at around 500 Hz and 1k, as well as at around 3k to slightly ease the pick attack noise, and a bit of multi-band compression set to constantly take off maybe 2 dB in the 100-300 Hz mud range. Guitars just had tiny dips (between .5-1 dB) at 400, 700, and 2.5k and were hi-passed at 60 Hz (and multi-band compression, also at 100-300 Hz, though set Sneap-style to only kick in on the whoomp on the palm mutes, taking off around 4 dB as I recall), and for the kick, just a boost around 4.5 k for some clickity-click, and some pretty heavy multi-band compression again at 100-300 Hz, constantly taking off I think like 5 dB (those Slate kicks are pretty massively boomy), and also maybe taking off 1-2dB from 100Hz downward; personally, I really like multi-band compression for controlling the low-end, rather than eq'ing, just cuz I find it easier to control large bands while still having pretty sharp cutoffs at either end! (e.g., taming the 100-300 range without affecting the sub-lows)
Wow, this is waaaay different fromhow I process bass. I have a low pass at about 200, and cut at like 80 to make room for the bass. Absolutely nothing goes higher than that. kick drum is peaked at around 80, with some HARD cuts right after it, 100+, just so it doesn't combine with the bass and clip, as it usually does for me.
My guitars are high passed at 150 ish, to mix a bit with the bass. I usually have to sidechain in order to get the bass's power while at the same time getting a nice kick sound. In the end the kick drum is like so much louder than the rest of the mix (based on spectrum analyzer) witht the bass following just below it. But it still sounds so weak compared to, say, your songs or some of my fav mixes (Shadows are Security by As I Lay Dying). oh wellz...
My guitars are high passed at 150 ish, to mix a bit with the bass. I usually have to sidechain in order to get the bass's power while at the same time getting a nice kick sound. In the end the kick drum is like so much louder than the rest of the mix (based on spectrum analyzer) witht the bass following just below it. But it still sounds so weak compared to, say, your songs or some of my fav mixes (Shadows are Security by As I Lay Dying). oh wellz...
Ermz
¯\(°_o)/¯
From memory the bass went like this.
Bass DI > Sansamp PSA-1 > High passed at ~700hz > EQ removing high mid harshness > Slammed with L1.
Bass DI > Ampeg SVX (SVT Classic) > Low passed at ~300hz
Both combined on the master 'Bass' group where there was EQ and an instance of 1176 taking off a hearty amount. There may have actually been another L1 here somewhere. At the end of all this there was a Curve EQ image matching the spectrum to that of a certain Killswitch bass tone, since Marcus expressed that he wanted something a bit more mix-ready and I wanted to get it to him sooner rather than later. Spectrally there was a ton of cutting midbass and low mids, and a little bit of a boost around the 60Hz area. I didn't quite know how Marcus was going to seat the bass in the final mix, so I left some room to move in either direction, but the tone was about 80% there from what I recall.
I still think it's a bit of a shame at least the grit didn't make it higher in the mix. I think the 'clunking' could've really filled up the center. You can catch glimpses of it at the start of 'Forever Bound' if you listen carefully. It has a really filthy grind. But anyway that's probably just my bias from having done the reamping!
Bass DI > Sansamp PSA-1 > High passed at ~700hz > EQ removing high mid harshness > Slammed with L1.
Bass DI > Ampeg SVX (SVT Classic) > Low passed at ~300hz
Both combined on the master 'Bass' group where there was EQ and an instance of 1176 taking off a hearty amount. There may have actually been another L1 here somewhere. At the end of all this there was a Curve EQ image matching the spectrum to that of a certain Killswitch bass tone, since Marcus expressed that he wanted something a bit more mix-ready and I wanted to get it to him sooner rather than later. Spectrally there was a ton of cutting midbass and low mids, and a little bit of a boost around the 60Hz area. I didn't quite know how Marcus was going to seat the bass in the final mix, so I left some room to move in either direction, but the tone was about 80% there from what I recall.
I still think it's a bit of a shame at least the grit didn't make it higher in the mix. I think the 'clunking' could've really filled up the center. You can catch glimpses of it at the start of 'Forever Bound' if you listen carefully. It has a really filthy grind. But anyway that's probably just my bias from having done the reamping!
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