- Nov 6, 2005
- 320
- 29
- 28
After fighting with hardware failures, and just the mix in general, I got to this point. I happy with the mix as it is the best I could do with the source material and my skills at the moment, but really learned a lot about not baking in detail or limiting mic options at bounce stages (I lost the composition sessions almost two years ago). I had four guitar tracks setup and reamped with two tones meant to conpliment each other,one for the dark, meat of the tone the other for the brightness and pick attack; and they worked great without the symphonic elements, but they took up to much space for the symphony to fight through. So after playing around with it, I felt the darker set with some sculpting fit better, especially with the brass sections since they occupy a lot of the same ranges, but there is some "smudging" of the pick attack that I wouldve fixed had I known it was going to be my only tone. I already have some stuff written, and "upgraded" my orchestral palate for this type of composition in the future, specifically to help ease some of the wall of sound this ended up becoming.
Gear wise
Countryman Type85 for DI in
RadialDI for reamp out
Guitar chain
Schecter SLS7, pickups reversed (neck pickup in bridge position), Ibanez ts7, Framus Cobra Lead channel, matching cab with G25, Pr20, ART MPA
Bass
Ibanez sr375, bridge pickup, Aguilar 500, Eden 410, Too many mics to count (used phase reversal for the bulk of the clean signal shaping)
Dual Rec clean channel (pushed), Line6 Spidervalve V30, Pr20 for a "spank" channel
Vocals
MXL990 and pr20, alligned
Orchestral stuff
8dio Adagietto, CAGE brass, Lacrimosa, and music box
Strezov Sampling Thunder 3
Native Instruments The Grandeur
Cinestrings Tina Guo Cello
Ivy Audio Clair Solo
SSD2, Metal Foundry with kick and snares samples from Made Of Metal, Metal Machine, and Avatar(factory set)
