Will have to give this a shot later.

Right on bruthur.

DLed. When/if I get to it, I don't know, but I have it.

I think this is my final mix.

Gotta warn you, our bass player (who writes all the songs and is the main creative force behind the band) chose the dirtiest, most offensive, make you feel rotten for have even listened to them sound bytes to intro some of the songs.

http://www.mediafire.com/download/6s6xh ... ster_B.rar

Doing this shit tonight.

Just some Reacomp, Reafir and Reaverb stuff going on.

https://dl.dropboxusercontent.com/u/137 ... %20mix.wav

I like what you did with the snare there. Can really feel each smack during the blasts.

I was indeed going for a real loud, cutty snare. Though, it is probably a bit too loud: I have a tendency to mix drums pretty loud and guitars a little quiet with maybe too much bass proportional to the guitar:bass ratio. Were I to mix it again, I would try to get a better balance, but I like the treatment of the sounds.

Also, I should note that I didn't use the ATOM mic for the bass sound. Was not digging it's sound.

Sounds like you used the DI though? I used just barely a whisper of the DI, bass in mine is really like 48% 57 and 48% ATOM... going for the super fuzzed indistinct grindcore bass.

Guitar tracks I had the ATOM 5 db higher than the 57, it seemed to lend a somewhat HM-2 quality

Listening back for another time: I would mix the guitars a bit louder in relation to the bass and turn those up some in the mix. The drums are too loud here, but I do really like them fairly audible so it would not be a drastic change in volume. And I would probably take the vocals down a tad.

Ah, and I forgot to mention before but I totally dig this style of riffage and the tones are nice to boot.

Yeah that's all the doing of the other guys... Chris' song writing, Eddie dialed in the tone on the MT-2 and 5150 (max bass everywhere, hehehe)

http://www.mediafire.com/download/vy87d1s9lv4pv7l/Geoff_Grind_test.mp3

Sent this to Geoff & Cam earlier. I don't know if this is really stylistically appropriate. Mixed it on 'phones.

Lots and lots of saturation plugs on this. Everything has Waves Kramer Tape and NLS on it. Lots of Decapitator, too. I even clipped the output of the gate on the kick and snare. (Softube Valley People Dynamite, so it crunches up nicely.)

'Verbs are pretty straightforward impulses- Bricasti Studio B Close on guitar buss (with a stereo widener), AMS RMX16 nonlin2 on snare and toms, Lexicon plate on vocals- more 'verb on Geoff's low spacefrog noises.

I used the Waves API 2500 compressor on the kick, which was a bit of a 'speriment. It worked- it punches it up nicely. I like the Waves API EQs, but the compressor just sits there and I never use it. Now, I guess, I do.

Guitars are pretty much equal in level, with a slight bit more 57. Bass is a fair bit more DI than mic; I HPF'd the mic track pretty hard.

Lots of drumsmashing going on here. Parallel comp'd the drums, and sent the kick, snare and toms to a buss with Decapitator on it as well.

Only took like 20 minutes for this bitchass internet to DL that shit, but sounds really good to me, man. I personally would have gone with a louder snare but considering the way it was mixed, I cannot really fault you for levels and shit. Sounds properly big.

Thank you good sir!

I was tampering with it earlier; drums are I think up a bit and the whole thing's a bit louder as I was experimenting with some mastering stuff. I can't say it necessarily sounds better than the first mix though" http://www.mediafire.com/download/dc9dcu4h2q4s3sd/Geoff_Grind_test2_mstr.mp3

That sounds awesome. You really did some nifty things with the drums. You both overall went for a much cleaner sound than me for stringed instruments...

Was the room mic of any use too yous?

Thanks Geoff! I've been using this to experiment with a bunch of stuff I either A) have around and don't use or B) am demo-ing. I have a third mix of this I started yesterday but didn't finish.

Re: cleaner sounds- clearer, perhaps, but probably not "cleaner". The guitar buss solo-ed has a fair bit of audible distortion going on from piles of things. There's a fucked-up EQ that I have and don't use much (until now- it just became one of my favorites for its bizarre curves, now that I spent some time with it) and Satan knows what I actually did EQ-wise to the fiddles.

Re: the room mic, yes. The first mix, I just clobbered the thing. 1176 plugin, on all-buttons-in ("nuke") mode. The second, I got cutesy- I used the Dynamite as an expander on the room mic to duck the cymbals, so the room was mostly snare and tom hits, then compressed it after expanding it. One might think that's counter-intuitive, but considering how it actually affects the dynamics of the track, making the snare + toms far more prominent in the room than anything else, and then smacking those around, it makes a little more sense.

The one I've been doing now, I have a different tape/console/bussing system going (Airwindows), trying different reverbs on things, different EQ on the bass, and some different stuff on the vocals. I found an impulse of the Microshift patch from an Eventide H3000 and loaded that up- it's recognizeable once you hear it. Pretty cool, if not necessarily appropriate for DM vox.

BTW, I finally dug out the DBX from the basement while looking for computer parts. I even have a box and packing tape! I have to go out in the next couple days to drop off my ladyfriend's computer to Mr. Chris from Garda to be repaired- it's beyond my abilities and we don't have a spare hard drive- so I can hit up the post orifice on the way.

As an aside, I found this particular song really wants the overheads compressed a bit.

Hmmm, very interesting, expanding the room to bring out the drum shells. Do you think you could describe in more detail how that works?

I think a lot of it is actually a function of the mic you used (57, correct?) and the placement. It has a really strong midrange, and the snare and toms were the loudest elements being picked up in the room. Expanding it, you get sorta a gated sound, though an expander obviously isn't a full-on gate so there's a bit of cymbals and kick still.

Then I just slapped a nasty filthy compressor across it for Toan Porpoises.

The snare sound in the room is a lot different than the close snare mic- a lot more crack, where the snare mic is all top head and ring. Blending the two is interesting.

Alas with the Dynamite it's just positions on a knob- it's a model of an old-school hardware piece- so I can't say specifically what I did that'll translate on any other piece. I just tweaked it until it was ducking the cymbals/hats a fair bit and the snare and toms were coming through pretty hard still. If you were getting a lot more cymbals in the room mic it wouldn't have worked nearly as well, if at all.