Anaal Nathrakh sound (mostly a 3-mic sound pre / AD question)

[Bunjji]

Firstly, you don't necessarily need three mics, preamps, and converter channels to get their sound. If you want three channels, though, you will want the same preamp on each one. The Universal Audio 4-710d is a versatile preamp that you will probably find useful, and the four channel box is $2k (500 a pre). Another good set of four preamps is the focusrite ISA 428 (MKII) which goes for $1.5k. I had trouble finding any converters with four inputs in your price range, but the RME Fireface UC is just over, $1350. I found one that is A LOT cheaper, but not as high quality, the MOTU Ultralite MK3 ($550). I think that investing in better preamps is a better idea than investing in better converters (but keep them pretty matched quality wise).

[Bunjji]

Also, look for this stuff used here on the gearslutz classifieds or on ebay.

Another 4 pre box:
Solid State Logic Alpha VHD | Sweetwater.com

[zamsden]

Awesome, thanks Bunjii.. thanks for the advice, especially on budget for pre's vs. converters - that I had no clue whatsoever on. Actually for converters, I was thinking about Ross Martin Audio for A/Ds. Looks like seriously good specs on a low budget. Two dual mono-boxes would fit my budget. Being boutique, they also offer cheaper and more expensive versions (with cost totally based on op-amp bottom line cost, it appears).

Ross Martin Audio

The pres I am still unsure about. Since I have one JoeMeek 3-Q already and have used it with good results, I am kinda leaning towards just getting two more. I have heard that an op-amp upgrade in it can make it even better at higher compression thresholds, but honestly I haven't even had to use that feature yet.. not recording kick drums here, just guitars. I'll check out the pre's you mentioned for sure.

I should add - this is not a really well treated room, and although I can add some baffles and definitely nothing will be rattling or reverberating, I'm going to be really limited by the space, it is an upstairs bedroom (with old windows and casing replaced with modern treatments). So I am looking for some flexibility tone wise to compensate for that (hence the 3-mic setup sounds very appealing).

Oh shit awesome. I just checked out the 4-710d and found out I already checked it out. That unit is totally flexible and looks ... kinda awesome. I was actually considering that unit before, but it looked expensive, and I was hoping to not replace my existing pre..

The Focusrite doesn't seem quite as flexible tonally, but also looks nice.

I am seriously confused though, both of these pre-amps seem to also offer A/D conversion, which isn't what I expected, but is what I need. If I can get by with just one box, I am all the merrier... and the 4-710d is looking pretty, pretty, pretty good.

[Kaiborg]

Have you thought about getting an interface and being done with it? I have a Focusrite LS56, and coincidentally I've been doing bass-heavy atmospheric black metal with it. It's working out just peachy =)

[Bunjji]

Both UA and Focusrite make good converters, but the problem lies in getting the audio into your computer. There seems to be no decently priced units that convert aes or spdif to FireWire or USB, which s a very simple thing to do.

[Blaine Misner]

Not a gear suggestion, but an approach suggestion. A lot of the heaviness doesn't come out of the guitars alone, but out of a combo of the bass and the guitars. Dial in a super heavy bass tone, think driven SVT, then try cutting out some lows on the guitars. Competition in the low end is what makes recordings sound flat and muddy. Also experiment with using less distortion than you would normally dial in. For me, killer distortion tones come from using more mild settings and then combining/ doubling takes rather than having one guitar with a shitload of drive.

[Kaiborg]

Originally Posted by Blaine Misner

Not a gear suggestion, but an approach suggestion. A lot of the heaviness doesn't come out of the guitars alone, but out of a combo of the bass and the guitars. Dial in a super heavy bass tone, think driven SVT, then try cutting out some lows on the guitars. Competition in the low end is what makes recordings sound flat and muddy. Also experiment with using less distortion than you would normally dial in. For me, killer distortion tones come from using more mild settings and then combining/ doubling takes rather than having one guitar with a shitload of drive.

This. My "heaviness" got tons thicker when I learned how to properly cook up a great bass tone. It's really there, and not in the guitars as much as one wold think.

[zamsden]

Well you are certainly right, the heaviness AN gets is from quad-tracked guitars, 2x from an amp mic'd like above and 2x from POD. All this coupled with a driven SVT bass.

I was thinking of adding a baritone guitar to my collection to help with getting this kind of tone, but your last statement made me I realize I might be competing too much with the bass (longer scale length still should help with tuning stability though).

I imagine one component to the tightness is also clamping the bass timing to that of the guitar itself in a DAW, but I'm not necessarily looking for the tightness and precision of AN, more ambient. Mostly I admire the astounding and bass heavy tone and am looking for recording advice for the amp'd input chain.

[Kaiborg]

Personally, I'd look beyond the tried-and true sm57. I still use one on guitars a lot, but IMO it's best when you round out with another mic w/ different characteristics. Lately I've been recording a track with a single sm57, and then doubling it with a different guitar and amp, using a ribbon mic. The sound is huge, thick, and very easy to mix.

[zamsden]

This begs the question, any suggestions for a ribbon mic or pre to use for it? How would you mic with a ribbon mic, for room sound or directly on the amp?

[Kaiborg]

Well, it depends. If you're using a "normal" ribbon mic, then you want to put it through a pre with LOTS of clean gain. "Classic" ribbon mics don't need phantom power, and might need as much as +70 dB of gain to get the signal "hot". However, if you're working with something like a Blue Woodpecker, that's not the case. That mic is an "active ribbon" design, which does utilize +48 phantom AND has a naturally high output. This mic is also kind of weird, since it's got more hi-freq output than a normal ribbon. .

If you'd rather not fux with something new-school like a woodpecker, get a Royer 121. That's more of the "classic" ribbon sound.

Either one, you'll want to place farther back than a dynamic. Like say, 3-6 feet in front of the amp.