This is the mix I've settled on. http://www.mediafire.com/?8zw5j098w67lla8

I still haven't 100% gotten the hang of writing the track order into the MP3s (since Winamp doesn't seem to care) but the track order should be:

Wormhole Generator
Reach Through
Post Human
Never Existed

It's supposed to be one cohesive 'storyline' sort of proggy concept deal. So there may be 'reprises' of established themes.

It's about time travel. On the subject of time, it took me way too long to pop out these four songs.

Here is the cover art so far, though I suppose it needs a few tweaks:



I did it myself, and I don't know fuck about doing graphics, so just, yeah.

Imma dl it to listen to it tommorrow yo.

As for song orders, the easiest way i have found is just to name the files like:

01 Wormhole Generator.mp3
02 Reach Through.mp3
03 Post Human.mp3
04 Never Existed.mp3

That way if you just drop and drag them into any old mediaplayer they will automatically go in order, as the computer will autosort them numerically/alphabetically, as computers are wont.

That said, your files are showing the track numbers in their id3 tags, so you have that right. The computer doesn't usually pay attention to the id3s though, until after it drops them in the player. So you have to trick it with the numero/alphabits.

Is this the version Curtis and I have?

I don't know.


Will wait to download. The version I have sounds pretty tits so yeah.


Also I did teh reampsauce on this and I'd like to be credited for it... who knows, maybe it'll bring me some paying work if your album sells to someone who's making an album/single/whathefuckever and wants guitar tones for it or whatever.

So, can I like get a mention somewheres in the album info when it goes up to sell?

I think it would be standard operating procedure to credit the engineers if there's any credits at all.

The guitar sound is awesome, BTW. Uber-tight.

I've never seen someone credited for reamping before.

Thanks! They're SD1 (his SD1) > 6505+ > 1936 when it had 100s > SM57 + MD421

I would assume it would just be under engineering (or "additional engineering")... Though it seems the mix engineer is the most likely to do any reamp work. But I digress.

Oh, and for the rest of everyone out there, the guitar's Geoff's 7 with Duncan Distortions.

Is it drop Bb or Bb standard?

Yes it is the one Snaxie and Curtis have and yes indeed, Curtis was totally awesome in reamping the rhythm guitars with his 6505+. Went above and beyond too, when I started getting nitpicky and asked for more mics. Thanks man.

Furthermore, 'Reach Through' is based on a drumjam he did a while ago, so a good chunk of the drums parts in that song were his invention.

Sorry I'd forgotten to mention that... I was posting this thread late at night and I was a bit zonked.

You would of course be credited.

Guitar is tuned to Bb.

Shit sounds real good dood. Must feel nice to have such a beast completed at last.

The fonts are hard to read on the cover art where the white is on white and the black on black.

Very big congrats on the EP! Pumped to give this a spin.

Thanks dude! I fucked with a lot of amps that night (it was like 1:00-4:00am when I reamped these guitars) and sent you the four I thought sounded the best. You weirdly enough picked the one I liked least of them.

And I totally forgot about that drumjam. But after I read this I listened to the song and heard it. Cool that something I came up with is ending up in a semi-commercial product.

Stoked. Currently DL'ing this behemoth. I have already heard Post Human, as you sent it to me quite awhile ago. So I know what to expect.

My occasional metal collaborator stopped by to borrow a mic. We put this on to check levels compared to an unmastered clip he sent me earlier. He asked who it was and said it sounded good.

You know, I think this is a bit quiet compared to other 'mastered' songs but I just don't care anymore. People who might listen to this probably know how to work a volume control anyway.

What mic was it, pray tell?

I chose this in part because of that, actually, as we're both "just turn it up" sorts vs. mash the mix into a square wave, and this is a good example in a modern metal context. I'll err on the side of fidelity and punch vs. max level. (Have you seen the "mastered for iTunes" thing? Where Apple points out that the SoundCheck [auto level control] feature will actually make a super-squarsh'd mix quieter [same as radio compression]? )

Re: the mic, it was the Nady RSM-4 ribbon, with a slightly modified headbasket. (Pulled the inner layer of mesh to open up the sound; it's a pretty dark mic to begin with.) Amusingly, it was originally his mic, I forget what I swapped for it. Like most ribbons, it's figure-8, so he was gonna do a mid-side thing on his drums.

Thing is I really tried to squish it into maximum loudness.

So after about 6 listens I'm really into this record, dude. When I reamped it I didn't pay a bit of attention to the music, just making the guitar tones as good as I could.


In case someone wants to hear my reamps prior to the full mix and what Geoff had to work with:
http://dl.dropbox.com/u/8290798/neverex ... 2B-001.mp3 Just guitars with the backing track he sent me.

Awesome! Thanks man. Is it dark and other worldly?

Yes.