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Jens Bogren - Guitar tracking questions
Old 1 week ago
  #1
Mixing guitars and bass with extended range

Hey Jens, what's your approach to mixing downtuned guitars and bass? Thanks!
Old 1 week ago
  #2
Here for the gear
 
akarawd's Avatar
 

Jens Bogren - Guitar tracking questions

Hi Jens,

Huge fan of your work and your IRs are the only ones that do not sound phasey/ smeared, absolutely stellar.

I'd like to ask you

a) What are in your experience the best DI box/ preamp & reamp box for tracking
metal rhythm guitars ?

b) How do you deal with the boomy guitar resonance around B or so while
tracking (so before any processing) ?

c) How far from the final product is the raw micked up guitar sound ? Have you
ever found that just a touch of eq is all that is needed ?

Thank you in advance,
Than
Old 1 week ago
  #3
Here for the gear
 
AAGG's Avatar
 

Low-Cut on Guitars

Hi Jens!

-What is your philosophy on low cutting distorted Metal/Rock rhythm guitars (in relationship to the tuning of the guitars)?

-Would you sacrifice clarity for "vibe"?

-How far up would you go with you low cut filters und which Slope (dB/oct) do you prefer.
I most of the time end at about 100Hz (24db/oct) because i like clarity but I'm
not sure if thats always the right path to follow.

-How do you manage the interaction between bass and guitars? In other words,
what do you want to hear from each of them?

-Do you ever monitor in mono during this decisions?

Thanks,
Andi
Old 1 week ago
  #4
Cheers man! Glad you dig the IR's.

Quote:
Originally Posted by akarawd View Post
What are in your experience the best DI box/ preamp & reamp box for tracking metal rhythm guitars ?
Well, I haven't tried everything on the market, but I'm happy with a Radial JDI with Jensen transformer for my Di duties, and I'm using the active X-amp from the same company for re-amping. I choose something clean for my Di box preamp, like an Amek CIB. I always choose my best AD (usually Forsell) for this too, since a Di might be heavily distorted when reamped, and thus revealing a poor s/n ratio.

Quote:
Originally Posted by akarawd View Post
How do you deal with the boomy guitar resonance around B or so while tracking (so before any processing) ?
When I set the sound, I make sure it can handle the lowest chugging that might take place on the album. It's quite irritating if you have a sound set, and then reach a part where something is distorting in an unpleasant way. But I don't do anything dynamically. I use my best possible mic positioning and blend, and then a touch of EQ, and perhaps some other gear for transformer sound. I never compress distorted rhythm guitars, at least not on the way in. If it's rock/punk oriented, I might run it through an LA3 ever so slightly.
And for the mic positioning, I can definitely recommend trying a product for remote controlled mic position. I use Dynamount myself since the moment they hit the market.

Quote:
Originally Posted by akarawd View Post
How far from the final product is the raw micked up guitar sound ? Have you ever found that just a touch of eq is all that is needed ?
I tend to think it's pretty close to the final sound when I do it. However, it's not until the rest of the mix comes into place that you can really tell. And at that point, I would do whatever I need to do EQ wise, or try to re-amp if necessary.

50% of the time I would stick to the original sound though (usually with some EQ mod), even if I favour the frequency response I'm getting from a slightly modified sound through re-amping. There is always something lost when the Di has to go through impedance shifts and AD/DA conversions, compared to plugging the guitar straight into the amp. In fact, back in the day I would avoid using a Di for that reason: it degrades the signal a bit. These days I'm a bit more practical. The ability of having a tuner connected (I put it on a feed from the DAW to avoid parallel connections before AD), the visual aid a Di brings, and the safety backup in being able to reamp outweighs the drawbacks.
Old 6 days ago
  #5
Quote:
Originally Posted by jugetsu85 View Post
Hey Jens, what's your approach to mixing downtuned guitars and bass? Thanks!
Hey man! I don't think I have a specific approach, or I don't think like that anyway.

I personally think heavy guitars gain soundwise from being downtuned. It's more like gravel instead of sand if I should try to describe it. Thicker strings play their part too. Bass, however, is difficult when it creeps way below standard tuning. Especially since the guitars start to have a lot of conflicting fundamental low end, it becomes a matter of finding harmonics in the bass where the tonal info can get through. Distortion becomes important in that regard.

Sometimes, but not always, I would try and tame some low end with a multiband compressor or perhaps a dynamic EQ, but I also use limiters for that last low end trim on bass guitar. Same with guitars, minus the limiter (usually).
Old 6 days ago
  #6
Quote:
Originally Posted by AAGG View Post
Hi Jens!
Hell-o!

Quote:
Originally Posted by AAGG View Post
What is your philosophy on low cutting distorted Metal/Rock rhythm guitars (in relationship to the tuning of the guitars)?
I tend to do it, either with the (quite low q:ed) HP-filter in SSL4k, or a bit steeper with something like FabFilter or Digital V3. I don't ALWAYS do it though, it depends. What I usually do is that I try some different low-cuts (A-B testing), with or without a general 180 degree phase shift of the track. That can matter how it's coming through against other low-end heavy tracks in the mix.

In fact, checking the "absolute phase" is something I tend to do on many elements in the mix. As well as on the main mix while mastering. I'm not sure if this would make a massive difference, but it does make a difference in my listening environment, and thus it will affect the way I approach the track.

Quote:
Originally Posted by AAGG View Post
Would you sacrifice clarity for "vibe"?
Yes, of course. Clarity is not my main goal. It's usually a result of what I end up with, but whatever I can do to "vibe" things up has certainly preceded clarity.

Quote:
Originally Posted by AAGG View Post
How far up would you go with you low cut filters und which Slope (dB/oct) do you prefer.
I most of the time end at about 100Hz (24db/oct) because i like clarity but I'm
not sure if thats always the right path to follow.
I have no rule, really. I do tend to stay lower than 24dB, though, usually 12 or 18. Phase shift gets higher the higher you go with the Q, and I wouldn't even think of using a "brick wall" low cut. On masters, I tend to try between some various low cuts (if needed), including linear phase ones (if ripple can be kept low).

Quote:
Originally Posted by AAGG View Post
How do you manage the interaction between bass and guitars? In other words,
what do you want to hear from each of them?
I want the guitars to sound fat but distinct and "cool". My goal sound for bass is for it to be even, have some nice bark in the mids, and that nice expensive string sound that you can get by hi-passing a Di track really high up, like 5k.

I like tube amps like Ampeg, I love using guitar heads too, and I'm a fan of SansAmp.

Quote:
Originally Posted by AAGG View Post
Do you ever monitor in mono during this decisions?
Sometimes I do, yes. It can help with clearing up low end and low mid. But I mix 99% in stereo.
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