So - how many are there?

The production of these albums is fantastic. This in itself is the cause of the problem. It used to be that bands would toil to find what is essentially their "live sound". Then when they went to the studio it was up to the engineer/producer to capture this live sound and performance as best as possible. The modern recording environment has changed. This means that almost anything is possible, it would seem spoilt for choice, so it is easy for a band AND engineer to to say "this is what I want it to sound like". I'm not sure how many bands say "can you just capture our instruments just as is, I know it's not going to be the best sound that we can get but at least it's original"
 
I haven't time to read entire thread actually but I understand your point fo view Ermin. I don't really care about how carbon copy could be others peoples production. Why? Because all worldclass producer/engineer I love have her own sound signature (Bergtrand, Wieslawski bro, Malta from RG studio or Andy). What I want to achieve but that would be a really hard and long way... Just my 2cents
 
I agree with ermz. It´s even most annoying to hear that 90% of the mixes here have that similarity in the snare. It becomes gradually boring to hear almost the same shit over and over. And yes, most of them have great sound but over the time I lose the will to hear the same on and on. A already achieved some good things but every mix I try something different because if not I will lost the excitement of mixing.
 
Most people only have one good idea and then they die.

Some people have somebody elses idea and then they die.
 
I think it's very possible to use the Slate samples and still not sound just like all of the "slate-core" examples people have mentioned. Hopefully I can show that soon.

By the way, if I had the means to record great drummers in great drum rooms with great mics and pres, I would! I'd love to be able to, but I don't have what it takes to do so right now, so the Slate stuff is my answer for drums for the time being. You can still keep them sounding unique with a little creative processing, blending in with other samples, etc.

The samples don't dictate the style of music they are used for. It just so happens that a number of guys on here are using them for a specific style...


As far as originality and bands sounding the same goes, isn't there a ton of people out there that say all of Andy's albums sound basically the same? Actually, I'd say most of the music everyone on this forum is into is far from original... there are hundreds upon hundreds of melodeath and metalcore bands that play the exact same type of music. People like what they like... who cares if it's not something completely unique or brand new?
 
One thing I need to clear up here. There was never an implication made that work in this style sounded poor. Some of the operators who gravitate towards it are immensely talented in their own right. My qualm was with why those records just sound like the one that was done last week... by someone else? It's all about originality, not necessarily quality.

Since so many are intent on bringing up names, let me say again that I didn't even intend to direct this thread at Joey. As far as I see it, he virtually 'invented' this sound, so being the pioneer.. the one that has done the most with it, ultimately makes him the most original and gives him the right to do whatever he wants with it. What ultimately made me sit up and take notice was how many people wanted to be straight up clones of him.

Now don't give me this thing about 'CLA and Staub both have signature sounds, that's why labels go to them'. Of course every engineer has his own aesthetic - that's unavoidable. But these records I'm talking about are straight up near 1:1 copies of each other, with the same presets loaded up, or the same amps, in the same positions, the exact same drum samples. Even if CLA were to do 4 mixes back to back in a week, they would all sound radically different to each other, compared to what these scenecore records are starting to sound like. It's almost like everyone has this one blueprint of a band and sound they all interchangeably want to aspire to. How can that sit well with people? I just can't understand why anyone not affiliated with the mechanism would defend it.

Sure there are issues across the broader music industry. Popular music has always been shit, and the industry exploitative. But I chose to talk about this topic, and not that. For all intents and purposes it's irrelevant.

You have a right to believe I'm jealous, arrogant, or whatever your perceptions tell you. It really doesn't bother me. I know my course, and I will stay it straight. Long has it been a time where people with their own voice got put down with personal attacks. Ultimately when someone has nothing constructive to say to you, they make a swipe at your character - I'm very familiar with this.

And you don't have to tell me that this thread is antagonistic, or passive aggressive.... but let me know, why did this thread get 80+ replies in a day, when most of us can barely get 1/8th of that on our hard work over on the 'rate my mix' forum, or when we try to communicate useful ideas to the forum? It's because people are knee-jerk. They will jump into threads like this and actually take notice. You will only feel passionate enough to respond to my viewpoint if I'm passionate enough to antagonize you directly, draw the lines in the sand, black and white. You think I wrote the topic in these terms because I'm 'emotional'? No, everything was calculated, much the same way as the industry attempts to prey on every facet of your existence, and market yet another product to it. Creating an uproar got this the attention it needed. So read my views in whichever way makes you most comfortable, because all the words, all the wrapping, are just BS to get the idea through to those who care.
 
But these records I'm talking about are straight up near 1:1 copies of each other, with the same presets loaded up, or the same amps, in the same positions, the exact same drum samples.

Where? :confused: Post clips or links
 
Go to the rate my mix forum and have a little stroll through the latest topics. That's fucking where.
 
One thing I need to clear up here. There was never an implication made that work in this style sounded poor. Some of the operators who gravitate towards it are immensely talented in their own right. My qualm was with why those records just sound like the one that was done last week... by someone else? It's all about originality, not necessarily quality.

Since so many are intent on bringing up names, let me say again that I didn't even intend to direct this thread at Joey. As far as I see it, he virtually 'invented' this sound, so being the pioneer.. the one that has done the most with it, ultimately makes him the most original and gives him the right to do whatever he wants with it. What ultimately made me sit up and take notice was how many people wanted to be straight up clones of him.

Now don't give me this thing about 'CLA and Staub both have signature sounds, that's why labels go to them'. Of course every engineer has his own aesthetic - that's unavoidable. But these records I'm talking about are straight up near 1:1 copies of each other, with the same presets loaded up, or the same amps, in the same positions, the exact same drum samples. Even if CLA were to do 4 mixes back to back in a week, they would all sound radically different to each other, compared to what these scenecore records are starting to sound like. It's almost like everyone has this one blueprint of a band and sound they all interchangeably want to aspire to. How can that sit well with people? I just can't understand why anyone not affiliated with the mechanism would defend it.

Sure there are issues across the broader music industry. Popular music has always been shit, and the industry exploitative. But I chose to talk about this topic, and not that. For all intents and purposes it's irrelevant.

You have a right to believe I'm jealous, arrogant, or whatever your perceptions tell you. It really doesn't bother me. I know my course, and I will stay it straight. Long has it been a time where people with their own voice got put down with personal attacks. Ultimately when someone has nothing constructive to say to you, they make a swipe at your character - I'm very familiar with this.

And you don't have to tell me that this thread is antagonistic, or passive aggressive.... but let me know, why did this thread get 80+ replies in a day, when most of us can barely get 1/8th of that on our hard work over on the 'rate my mix' forum, or when we try to communicate useful ideas to the forum? It's because people are knee-jerk. They will jump into threads like this and actually take notice. You will only feel passionate enough to respond to my viewpoint if I'm passionate enough to antagonize you directly, draw the lines in the sand, black and white. You think I wrote the topic in these terms because I'm 'emotional'? No, everything was calculated, much the same way as the industry attempts to prey on every facet of your existence, and market yet another product to it. Creating an uproar got this the attention it needed. So read my views in whichever way makes you most comfortable, because all the words, all the wrapping, are just BS to get the idea through to those who care.


Ermz ftw!

but i guess the no-brainer deal wont help reducing slate-mixes ^^
 
Joshua Wickman is the only one kinda close to the sturgis sound :S brian and cath~ are doing their thing.. wouldnt say they are copying joey and
mattia.7 failed (sorry).. so whats the problem? :guh:

Thank god you are not the one who created "TEH SOUND" :lol:
 
I'm going to try and attempt to put my understanding and thoughts into words about this entire thread.
My view between the core stuff vs sneap as being the same etc. I've found andys mixes to fit a certain sonic spectrum which favours very commercial radio and midrange sound systems etc. And that's where andys signature stops for me to be honest. Listen to Doomsday machine, Formation of damnation and then the new Megadeth and tell me its oh so similar? It's not, andy tries to capture the vibe and ideal of the band and that's why saying that he can have that expected sound is ridiculous. The deathcore, crabcore whatever stuff, is when the mixes all sound the same.. Just because you use DIFFERENT pod presets or Slate samples, doesn't mean the production is therefore unique compared to the other ones youve done/ heard. Different amps, drums, tones etc and processing to fit the band and capturing their sound is how its done. Covering all that and essentially masking it with the way this topics genre does it, either covers what is REALLY there, or puts on a pretty face to compensate for what in fact ISNT there.

It's really as simple as that. People can try to just go, "Oh but your jelous, you're unrealistic, that's life deal with it, it's this way blah blah" and that's just as hypocritical as saying that ermz is trying to fit people in his ideal. His just opening discussion for other possibilities and instead of sugar coating other discussions and topics, just trying to get a straight forward answer and discussion going on. Everyone is happy to infer something but at least this way its a real open discussion about something that IS an issue to some degree no matter how much its defended.

I'm not a pro AE like most of you are, so I feel less biased in this, but after talkin to ermz, I know that I share his mindset because I too, as a band member, can hear all this repetition in production etc, that essentially starts painting bands in the same coat of paint. And to me, I'm not jealous of these bands in the slightest, if anything, it shows me exactly what I aim to avoid with the progression of my own band because I am one of those creative/ try to be unique purists. I just dont see copying someone else, musically or in production to be a positive for myself or my musical at all..
 
The problem lies in the song writing and song structure. Then the carbon copy mind set is transferred into the recording stage. I mean, if all the songs are identical, are they all not going to be produced relatively the same way? I think too much weight is put on the producers and engineers when almost all of the blame should rests in the hands of the musicians who just want to get teh br00talz breakxdownz and get paid. yah, when I first came on this forum I was just like any other "core kid" my age. I wanted my stuff to sound like sturgis. I looked up to the mindless writing of the bands. But thanks to some of your opinions on the matter, I realize that there is no point in playing the tired riffs over and over again. And the real point in me picking up guitar and writing was to create, not to copy.

so. Thanks sneapsters. :) haha
 
I think the reason many people try to immitate Joey, is that he made Major Label quality records, with home studio quality gear. That is truly I believe the reason why.

The thing is, I think the main reason you're (we're) hearing these clone type mixes is because of the bands sounding exactly the same. Nothing you can do about that. Andy has his formula, but I think it works better because the bands he works with all sound pretty different. Same with CLA and Randy. The "cookie" bands, don't make it big time to be able to afford these guys to work on their stuff. Only the originators and pioneers get brought to the forefront of the major label budget.

If anything, we should embrace (in an artist perspective) that the "music business" is being wrestled out of the Label's hands. And being brought back into the artist's grasp of being able to put out quality material on an indie budget. Of course you're right in the sense that that just makes more asshats able to break themselves out and waters down the "scene" with a bunch of bullshit bands, but they'll fade away and the true, hard working bands will still be around because they don't follow the trends and perservere through the toughest times.

Now does that suck for budding engineers.....yeah kinda, but you need to ask yourself is it about business or about art. To me it's still about the art, so that's why my perspective is the way it is.