Quote:
Originally Posted by u b k  yes, lots of samples and grooveboxes.
also, lots of the right kind of compression, most of it very fast. compression on the drum channels, compression on the drum sub, compression on the mix.
be warned, you'll *never* achieve these kinds of sounds without the help of a talented mastering engineer. additional mastering compression and the ubiquitous L2/L3 for the final splat-up-against-the-brick-wall vibe are essential for what you're hearing.
you will save yourself months and months of agony and grief if you find a local engineer who can pull off this kind of sound and book 4 hours with him. let him know in advance your intention is to learn as much as it is to mix. bring your tracks in, ask questions humbly and tactfully, and watch him work his magic.
recognize that there are two different agendas at work inside of you: to learn the tricks of audio engineering, and to write and complete songs. trust me when i tell you that pursuit of the former will seriously compromise your ability to be productive with the latter. not only will your time and energies be diverted from music generation, your self-critical circuits will kick into overdrive, and your perspective on what sounds good will scatter with the winds.
always be aware of where your priorities are, and monitor how your choices impact your progress. good luck.
gregoire
del
ubk
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Thanks for the words of wisdom. I already feel how much I´ve spent too much time trying to figure these things out. I don´t want to have the feeling of weeping again after having gone through a studio that didn´t understand what I´d like the stuff to be. This kind of music is though very soundshaped and fx driven, try doing any of them on an accoustic guitar and it´s not going to sound even remotely like the recorded song. I´ll be doing some researching for mixers, engineers and do some interviewing before hiring, that´s the mistake I probably made before.