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My latest mix (5150III, VCC and a ton of outboard)

Discussion in 'Practice Room' started by Ermz, Aug 31, 2013.

  1. Ermz

    Ermz ¯\(°_o)/¯

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    Mikko used his B7K and I used my PSA-1 for the grit portion of the bass tone. The DI was run through Bass Rider and a Distressor to level it out before mix processing. Once in the mix the DI was filtered down quite heavily, and the grit tracks were filtered up. I used my hardware 1176 Rev D for the bulk of the compression, an L1 shaving maybe 1 to 2dB from the tops and about 2 or 3 instances of EQ to do the tone shaping. It also had the VCC Brit N channel running on it to give more sub-emphasis and open the tone up.
     
  2. AntonioPetrole

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    If you don't mind me asking, how did you go about micing the rhythms on this? The weight in the low end, punch in the mids and clarity in the highs makes me poop a little. I have a 5150 III 50W on it's way right now
     
  3. Mago

    Mago Austrian Blech Machine

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    Seems that one was on youtube. Doesn't sound dull(ish) at all on bandcamp.

    Great work man!

    Also really great work on composition and playing!
     
  4. indecizo

    indecizo Member

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    anyone else hear a pop song on the intro of the song?
    the chord progression kinda has that carly rae jepsen-call me maybe vibe , or maybe something else
     
  5. M. McMenamin

    M. McMenamin New Metal Member

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    Thanks! For some reason every time we rendered the video, some high end was lost. Eventually we gave up, haha.
     
  6. Ermz

    Ermz ¯\(°_o)/¯

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    We did two sets of reamps. The originals were done with a 6505+ as the dominant amp, using 2 or 3 mics. I found in the mix that it just had too much junk, and no matter what I did they just wouldn't cut. So after this we shot out all of our dozen V30 speakers, and settled on a different cab and mic position. We used the 5150 III as the dominant amp, and only using a single mic found it cut a lot better within the mix. So just a single 57 in the right position, on the right speaker on an OS cab really.
     
  7. Felix Neumann

    Felix Neumann Member

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    This sounded perfect! Great job, Ermz.
     
  8. Ermz

    Ermz ¯\(°_o)/¯

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    Thanks Felix.

    If any of you guys want quick access to the other songs from the EP, here you go:



     
    #28 Ermz, Sep 4, 2013
    Last edited by a moderator: Nov 20, 2015
  9. StayTrue

    StayTrue Member

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    Bought the EP.........really dig the music and mix.
     
  10. slo77y

    slo77y Member

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    the snares have an insanely broad "body-portion". how did you achieve that? is it a blend of samples? thanks :)
     
  11. M. McMenamin

    M. McMenamin New Metal Member

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    Thanks StayTrue, awesome to hear that!

    Ermz, I'm also interested in how you created that meaty snare! :)
     
  12. Triscore

    Triscore Auryn Studios

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    Sounds massive and wider as hell Ermz!!, overcoat the guitars, I like it. Congrats :)
     
  13. JeffTD

    JeffTD Senhor Testiculo

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    This is fucking great, loving the overall aesthetic and the individual elements are great. Anything in particular you did to work around the synths or get the vocal ambience to sit so well and sound so wet but still clear?
     
  14. Ermz

    Ermz ¯\(°_o)/¯

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    Regarding the snare, I'll admit it was a very sample heavy sound this time. Given the main reference the band gave me, I decided to really bring the Slates out to play and emphasize them in the mix. Much of the character of the tone is simply from the sample blend. The rest was through me attempting to emphasize the 200Hz region a bit more than I normally would. So it's a bit more of a 'warmer' thud than I'd normally get. There are also 4 stages of analogue compression on it, if you count the serial compressor, the snare parallel compressor, the drum bus parallel compressor and the master bus compressor. All of these add up to really warm up and thicken the snare in a particular way. Slate's VCC was also used quite heavily in order to enlarge and soften the tone a bit more.

    The magic weapon on the synths has to be the Overstayer compressor I used. I've found that compressor to only really work on drum bus, synths and backing vox. That's it. But when it works, it works well. It helped pin the synths and keep them from jumping around too much. The rest was really just incremental LA-3 compression per-track and some really brutal EQ to really thin out the synths and fit them around the main elements of the mix. They often want to completely dominate the low-end and vocal space, so you have to get quite brutal sometimes. Lots of filtering, and lots of aggressive cuts. The cuts generally depended on the sound of the track, but most of the synths got cuts at about 600hz and 250hz to remove unnecessary mid content. VCC was again used quite heavily to saturate them and keep them pinned in place. I used a Nebula high shelf EQ in order to brighten them globally in a pleasant way.
     
  15. Vicioushead

    Vicioushead Member

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    Sounds awesome!
     
  16. karybdis

    karybdis New Metal Member

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    Excellent job, Ermin. Guitars sound excellent...love that tone.
     

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