@ZombieMorg...upon further listen...I still like this, but what's that high pitched screeching noise that starts at 0:14? I hear it whenever the cymbals get used heavily during solos, etc.. Mp3 artifact? Is it in the WAV?
Sorry dude - Only just seen your reply
For the mastering I think I used the Waves SSL Bus comp, taking about 2/3dB off. This then went through the Massey Tapehead on its lowest settings and then into the Waves L3 Ultramaximiser.
The screeching sound is actually just the cymbal. It's a 20" Zildjian A Custom crash but I've always hated that cymbal, it seems overly heavy and harsh compared to its brothers.
These were all done on a Roland VS 1880 using a Behringer V Verb for extra vocal processing.
For “Running on Fumes” the mics used were a Studio Projects TB-1 for lead vocals, a Shure SM7b for background vocals, and mostly sm57s and the SM7b for guitar cabs. One of the rhythm tracks (the palm muted guitar) was recorded direct via a Johnson J Station. The preamps used were a M-Audio Tampa and a Studio Projects TB! The bass was recorded direct via a Behringer V Bass pedal (Samsamp knockoff), run into the SP VTB-1, into an ART D/O converter, and straight into the 1880. The drums were sequenced on a Korg 01WFD, and then mixed and processed within the 1880.
On “She’s Walking Away” the lead vocals were recorded via a Studio Projects C3. The background vocals were the SM7b. The bass was direct again, using the Behringer V Bass pedal and into the M-Audio Tampa, running digitally out of the pre into the 1880. The drums were recorded live where I used a SM7b on the top snare head, a sm57 on the bottom snare head, a JTS kick drum mic on the kick, and two MXL 991s in X/Y position for overheads.
The kit itself is my Premier Custom Birch kit. The guitars used in both tunes were mostly a Fender American Strat, a Fender American Tele, a Gretsch 6120, an Epiphone Flame Kat, and an Alvarez AD60K 110151 Koa acoustic used on “She’s Walking Away.” The bass used on both songs I believe was my Cort 5 string Jazz bass with Bartilini pickups. The amps were a combination of a Crate Vintage tube amp, an old Marshall 100 Watt Lead, an old Marshall Valvestate, and a Vox Valetronix. These were used at times in various configurations along with various pedals on my pedal board.
Here's a bunch of my last mixes.
It's been a very low budget project with my own band. I was heading for an Albini-esque sound. REALLY hard to do without high end mic's and tape machines :p and a sloppy drummer *ahum*
The first one...just listened to your second tune, and it's interesting too...I like music that's different and that does things unexpected...you've kind of got that nailed.
One quick suggestion: the music itself seems mixed pretty well IMO, but on the dry vocal tracks you may want to lightly dial in and hard pan some verbs and delays, just to soften them a little bit. I don’t know that my problem with the vocal sound is so much with the mic insomuch as just the way it sounds or maybe the fact that at times the vocals sound like they were recorded in an untreated bedroom. I think a little extra processing could mitigate that effect.
All in all, those are very cool tunes, and you did a good job.
One quick suggestion: the music itself seems mixed pretty well IMO, but on the dry vocal tracks you may want to lightly dial in and hard pan some verbs and delays, just to soften them a little bit. I don’t know that my problem with the vocal sound is so much with the mic insomuch as just the way it sounds or maybe the fact that at times the vocals sound like they were recorded in an untreated bedroom. I think a little extra processing could mitigate that effect.
Hole in one!
Yup, untreated bedroom, (though on the first track it was compressed to ****). I do rate the Nova quite highly, for a £90 or so mic it doesn't really sound as cheap as you'd expect, and once you scratch off the terrible logos it doesn't even look that cheap anymore :P.
I'll be playing around with different processing next time i do something, Thanks for the tip. =]
wrote and recorded this last week with my band (we are actually progressive power metal band :P). its a straightforward rock song, so pretty different than what we actually do. the performances are kinda sloppy (just a demo for a school thing) but i was pretty happy with the sound (minus the overheads...something strange happened with one of the crash cymbals). anyway, hope you like it. o, and we aren't a christian band...its just a hilarious band name for a stupid short-lived side project
The guy wanted a very ambient and 'roomy' sounding mix so that's what I went for. I love being able to hear the creaks on the piano bench and other ambient noises- makes you feel like you are there and gives it a more raw effect. I recorded everything as well, blue baby bottle on a vintage fender tube amp, sm7 on vocals, pair of e70s on the piano. Check out the rest of the set for some other stuff by him
All of this going into my Focusrite Saffire Pro 40. Great interface, even though it's the only one I have and know!
My DAW of choice is Cockos REAPER. I may have done some sequencing in FL Studio, though.
Instruments are in my signature, with the exception of the drumkit, the bass (an Aria Pro II from my uncle, he's got better basses at his home anyway) and the cajon (that's in none of these productions anyway).
"Better Than You"
Electronic drumkit from a plug-in (808s are cool!)
Guitar amp simulator
VST synth
"Break Your Heart"
Guitar amp simulator
Real drumkit
VSTs (synth and piano)
"Loser Patrol"
Guitar amp simulator
Real drumkit
VSTs (two synths)
If there's a bass, it's the Aria Pro II.
If there's an acoustic guitar, it's my Taylor 110ce.
If there's an electric guitar, it's my Taylor SolidBody Classic (through an amp simulator).
If there's a mandolin, it's my Kentucky KM-550.
If there's a 12-string, it's no 12-string. It's my Nashville-tuned Tanglewood travel guitar overdubbed over the 110ce. :p
If there's backing vocals, it's me!
--- AT 4033 lead vocal -- backups on a AKG D 333t --- 58 on the Blues Jr tube cab --- drums : all with fingers on the Kurzweil keys ---bass direct to Manley limiter .... DAW >VS 2480
Indeed!
I admit there were a few moments when I wished I had a close mic on the snare, and I took some time to be happy with panning the snare and tom sides.
But the GJ technique is a powerful one, and a great way to work minimally, which appeals to me. I only had 8 channels and everything was live so I had to DI the bass and keys. Next session I will have my grace lunatec on the focusrite spdif for 2 more inputs, so I can mic the bass cab and snare. I didn't like working with just the bass DI straight in; flat and lifeless. I love that kind of creamy midrange bass, rather like in that Dark Chocolate jam cjogo just posted.
Nice work there!
Ditto to fjordski; you were dead on with the chair squeak at the break. That track has some really nice production choices at work; you can really hear someone shooting for a sound. I kept waiting for an explosion of chorus that the track never seemed to deliver; your production is so damn good, I think you might gain focusing on arrangements that are equally strong, then you'll have a monster on your hands!
Ah yes, a lovely shore, that Big Sur.
I think I've seen pictures of your space before; fabulous design.
Reminds me a bit of Dulles International, on the other coast; only with a shorter reverb.
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And of course the player was Kim Stone 
