band is from newry, called ozzmium. recorded it in the engine room thru the amek rembrandt.
1176 silver face
la audio comps
drums - the usual suspects (57, 421, 414 etc)
rhythm guitars - re27, sm57
lead guitars - re27, 414
bass - DI and re-amped (ampeg svx head)
vox - u87, 414
this is only the first test mix so any opinions would be nice and appreciated
Lovely original stuff would like to catch them live ???
I listened thru amp tannoy 5 speakers (not studio mons)
like a real fan would...
for my taste drums too far back in mix in relativity to gtrs and vox generally dry.
these are noticeable at high volumes ok on low volume
great panning effx on vox
yeah drums def need to come a little forward but the vox are covered in reverb and delay already!
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Sounds really good, don't know if I agree 'bout the drums though, I think you're on the mark, I know that kinda style and guitars rule, drums get pushed back. There's so many great songs in that genre where the drums are surprisingly low, well snare in particular. but it just works at that level. If I was gonna say anything bout the snare, ...bit bigger maybe, but not louder if ya get me...
A few things jumped out at me.
Too much high mids overall making it a bit fatiguing.
The centre image is weak due to kick and snare too low and lacking depth.
The main guitars lack clarity. Probably due to the mix of 2 mics causing phase cancellation. I have never been able to get a mix of 2 mics to sound as good as one 57 in the right place. It also sounds like the same amp/mic/pre for left/right. I always use a different guitar, head and mic pre for each side. Usually a Mesa TR and Peavey 6505.a tube screamer REALLY helps too.
A neumann of any LDC is a no go for metal vox. AN SM7 or 57 or Audix i5 will sound much better and give the vocal more mid range attack.
If you have the wavs PM and come over and we can do a mix.
If you have guitar DIs all the better.
Metal is very different to "normal" recording. I can show you lots of tricks.
Here is a recent metal mix I did.
cheers michael.. if i had time i definitly would come over but i need this away for the weekend.. next time definitly.
the guitars were jackson thru a triple rectifier and prs thru a begura head. unfortunatly we only had 1 cab for the day (a marshell 1960).
ill probably take out the 2nd mic on each side and see how it sounds with just the re27 or sm57 (maybe 1 on each side? or would i be better sticking to just the 57 (the fact that its the same cab makes me want 2 seperate mics)
unfotunatly we only have DI's of the lead as we were having a few problems with the supertrue and it affected the routing a little.
the centre is going to be lifted up today (like i said its only a first mix)
the harshness definitly needs cleaning up. after resting the ears im especially noticing it when the phaser kicks in on the guitar.. it just seems to sit right on top of the overheads.
for the vox the neumann was only on the clean vocal with the 414 looking after the screams (with a pad on it) i also have a touch of tube dist on the vocals and i had driven the 1176 down to tape.
i'll throw up another mix tomorrow when ive worked more on it.
Feckin' hell lads - great thread
...there's some amount of engineering/production info in this thread... mic choice, DI vs. mic, panning, EQ... yis have covered all of that in just a handful of posts.
Would love to hear how the mix progresses DT!
Put an analyzer on the kick and see where the meat and attack are. Hi pass at about 20 then boost the meat (usually about 60-100) and the attack (usually about 5-6k) then pull the mids to hell out between these 2 points.
Squash to hell with attack set to just slower than where it kills the kick and set release to about a quarter bar. This may seem long but it will really give power to the double kicks.
Don't boost the highs on the OHs. Instead pull the mids where the snare is in them and hi pass at about 120. Add a sample if possible.
The snare is tuned way too high (fuppin metal drummers) so not much can be done unless you sample enhance it with a sample with some balls instead of just the attack there now.
On the main drum buss pull some 200-300 and boost wide at 2k by 2-3db.
Put a multiband compressor on the guitars and find the mud. It will be an obvious bass ring at about 250-450. Use one band of the MBC on this area and suck it back 5-6db. This will let the kick and bass gtr through the mix. They are buried at the moment. Cut a small hole the the gtrs for the snare.
Marshall 1960 are not a great cab for modern metal. They have celestion g12s which are very scratchy at 2-5k. If you are doing more metal try and get a celestion v30 cab (mesa, orange, 1960av etc). V30s LOVE metal.
Push lots of mid on the bass at about 1k. Cut at 90-110 to let the toms and kick through. Boost at about 80 then hi pass at about 20.
The LDCs are making the vocals too big. As I said earlier a dynamic is much better.
Try hi passing as high as you can then boost 2-5k on the vox to get them to cut through. You can then lower them to sit better in the mix.
The problem with mixing metal is that everything has to be loud at the same time resulting in lots of notch eqing to give everything space.
None of the above may apply depending on the raw tracks but from listening most of it should.
cheers for the advice michael
ill have an update tomorrow hopefully.
the vocals are very similar in a devils way... and chalk and cheese
but DT is 1st mix
i wonder can we have a listen to the final mix to compare ... Preetty please to DT
trackmix great sound- if you enjoy the genre
Im so far down from reaching these heights its depressin...
if you ever need a tea boy on an overnighter or weekend I;ll volunteer
I;ll even switch to logic
Reign, Reign go away ....
Would the buttheads turn away a metal album if a band wanted to book the studio for a few weeks?.
I don't think so.
Metal is a big market with lots of bands willing to spend money on recording.
A rarity these days.
I'm only winding you up Paul because you always have a go at metal
We would actually !
Everyman to his own though ....