Devin Townsend recording tips

XnaySaturo

Member
Sep 7, 2007
904
0
16
Montreal, Canada
Hey, this got posted a couple of weeks ago on the DT forums. I couldn't find anything using the search bar, so I guess I'll share it with you guys! It's not much, and not really that useful, but fun to know nonetheless.

What Frequencies are you rolling off with your High Pass & Low Pass Filters on your Guitar?

...typically most things below 60, and I usually cut a bit around 3.5, then boost more at 12-16

What Frequency Bands are you Boasting and Cutting with your Multi-band Equalizer for your Guitar?

...cut a db or 2 at 250, but boost at around 640 a db or 2. Always close mic, but never direct on the cone, always a bit off, but direct on the grill

What are your Compression Settings on your Guitar? Compression Ratio, Threshold, any and all settings.

...I never compress heavy guitars. I do it manually with automation, but mostly with the highpass and my picking technique.

Where do you Typically Pan your Guitars in the Mix?

...hard left, hard right

How many Rhythm Guitar Tracks do you Typically do per track?

...I used to do 4, now I do 2 per part. Sometimes it's many parts though...

Any other Tidbits of Info on what exactly you do to your rig to tweek your sound would be much appreciated

...track fx separately, If the guitars get lost, try boosting high-mids a bit before turning the physical volume up. When using the hi-pass, cut the lows until you notice, then back off...the hipass is just for getting rid of the shit that muds up the bass that you don't hear anyways.

Do you do any Final Mastering with Logic? I have Logic and was wondering which setting you'd reccommend

...I use Logic for synths and loops. I use Protools and hardware for all mixing and mastering. The hardware is expensive, but I've been collecting for years. An ssl stereo compressor, G-series, into a Manley Massive Passive. You can get a similar effect with a Waves package of ssl bundle.

When will Peavey be releasing the PDX-7 "V" (seriously...I can't find out any information on when & how much)

...I think so, they're hard to communicate with, but they keep making me what I want so... there. I hear 3 months though...

Like Ki, Love Addicted & but Can't Wait for Deconstruction!

... thanks, I love Ki, really like Addicted, and have had some pretty interesting moments with Deconstruction that seems like it could be monumental. It could just be awkward though... time will tell.
 
I never need to low pass guitars, I actually end up having to shelve a little up there too :/ just mic position I guess. I seem to get a smoother tone a little further from the cone, but I have to make up for the loss of high end with post EQ.
 
damn and I was expecting some radical, innovative shit from Devin... haha I dont know wether to be disappointed or not
 
I did the same on my last project, I tried a low pass and it was far too dull, ended up shelfing around 12khz and it worked a charm to bring life to the guitar. one of the happiest I've ever been with a guitar tone.
I don't think it'd work in every situation though, I've tried on some other projects and it was fizz city!
 
I've been using a more gradual roll off for the low end instead of a quick drop. Starts around 90/100 and then is completely cut off at 50/60. I also boost the area right where I lowpass, around 11/12k. Kinda cool to see he does almost the same thing. Sucks that my guitar tracks don't sound anywhere near his though.
 
damn and I was expecting some radical, innovative shit from Devin... haha I dont know wether to be disappointed or not

Now that would make it too easy, would it :loco:

I found myself ditching the LP sometimes too. Usually when I had less stuff in the mix (no vox or keyboards/orchestra stuff) and more room to fill.
 
Nah, purely because its devin townsend. Im being sarcastic :p I just think that stuff like City is really distinctive and I was expecting more I guess.
 
Devin actually didn't mix City, or any of the SYL stuff after as far I know (dunno if he tracked any of 'em either, but yeah, I too thought he did all the engineering on 'em for awhile as well)
 
Devin actually didn't mix City, or any of the SYL stuff after as far I know (dunno if he tracked any of 'em either, but yeah, I too thought he did all the engineering on 'em for awhile as well)

Yup, pretty much. Daniel Bergstrand engineered City, which he then mixed with Dev. He's mixed all his own stuff except Physicist (which sounds fairly shit, ironically enough), with Shaun Thingvold helping out most of the time.
 
Devin actually didn't mix City, or any of the SYL stuff after as far I know (dunno if he tracked any of 'em either, but yeah, I too thought he did all the engineering on 'em for awhile as well)

I've seen a video of him tracking Alien.
 
I'm not the tiniest bit surprised his methods are on the conventional side and he doesn't have any magic tricks to reveal. He's not trying to make the best of second-rate tones and second-rate players and second-rate songs. What Devin does on his records is emphatically not a "save job".

An excellent vocalist and guitarist with good, genre-appropriate tone (even his rig demo videos sound pretty cool, and that's probably the camera mic), a genuinely great drummer and clever song arrangements recorded on good gear and competently engineered... Why that yields quality results is no mystery.

If anything, the conventionality of his methods leads us to the ultimate unfortunate conclusion that brings most of us to somewhere like this to learn: getting it right at the source. Even past the gear down to the players. If it's not good (for what it is; I'm a big proponent of not-conventionally pleasant sounds myself) to begin with, there's only so much you can do to make it so. Because, for example, most of us don't get to record Gene Hoglan on his kit in a cool studio.