Yeah, it is something in the high end, I feel. It is like, a thinness or something that I like in cleans. The way I had it today, it was a little too warm and woofy for what I want in a clean, but I messed with it a bit and kinda got it nearish where I wanted. I definitely still need to mess with some things.

I'm glad you've joined dat Marshall club. It's just the greatest tone ever, man.

An EQ in the loop works magic for a marshalls clean tone. Scoop those mids right the fuck out!

Nearing satisfaction with my guitar tones. It is very sick.

Ya boy pretending to be Guy Picciotto and messing up a bunch at a hardcore show. Trial headlined.

Motherfuckers need a bass player.

Seems like you have a lot of bits of a good thing floating around. I dunno about the falsetto on part 1 or the def growls on the other one, but hey man, i am old.

I think a bassemeplayer would tie it all together a bit moar tho.

Also. Trial's guitarist was the one who blew up my Crate GX130C. He was kind of a dick about it too. That was a thousand years ago though. I am a little surprised they are still playing. Their singer was a good dude.

Yeah, it would be very nice to have one cover up my mistakes and whatnot besides the lowend and dimensionality. Luckily, we will have one soon! We're gonna be a four piece actually. I now play bass in my friend's former two piece and they are both coming aboard our band. They are talented multi-instrumentalists, and both can play trombone.

Actually, we are in the middle of recording a split with our other friends who have a two piece. And I might end up playing bass in that band too. It'll be nutty to juggle, but I am really good and quick about writing counterpoint melodies and find it really fun. This split is going to be really, really good I am thinking. All these dudes are super talented and have a really cool sound. I am stoked to put this thing out.

And that is quite funny about the Trial coincidence. And yes, they are still very much playing. Pretty cool band. And yeah, singer dude seems like a good guy. His whole between songs spiel was different philanthropy stuff.

There needs to be more 'bone in post-hardcore. I assume those guys'll be bass and guitar for you and your pal Lando, then?

I've done a few shows with an industrial band around here whose keyboardist has been known to bust out a bass trombone on a couple songs. It works. These are the sort of guys who mic up a typewriter onstage.

We definitely hope to utilize it in a properly nutty manner. They will indeed be serving and guitar and bass players as well as keys and whatever other shenanigans we might find ourselves up to. Both are also good singers and songwriters, it's rad.

This is definitely the best band and best sound I have ever recorded. This is the band I might play bass in if I decide that I am mentally insane and want to try to pull off being in that many bands.

A taste of that, which isn't even going on the split:
https://dl.dropboxusercontent.com/u/137 ... %20Mix.mp3

This mix is super fucked and crushed on the drums, but I am too lazy to go and render the new mix with a couple additional guitar overdubs. Guitars are going to be mono on all but one of the other tracks we recorded. What would you dudes recommend to make them sound big? Stereo reverb? There still is bass to track, as well. Should I try stereo reverb on that?

One of their other 3 songs we recorded, which sounds like psychedlic emo Meshuggah, I am insisting they overdub double tracked guitars on that one. It's an amazing tune, I can't wait for it to be finished.



AND:

This is the band that I do play bass in now. We have yet to track bass, because I am still sort of writing the bass parts on one of the two songs but they should be done very soon.

https://dl.dropboxusercontent.com/u/137 ... %20Mix.mp3

Re: big mono guitars... Hrmm... No one said they had to be centered all of the time. There's always the old classic rock thing of panning the guitars and bass to separate sides. Or hard-pan the guitar and pan a 'verb or delay to the opposite side. Use wherever the guitar isn't as space for something else- vocals, parts of the drum kit, overdub stuff, etc. The guitar could have a stereo room sound, and within that space be centered or panned... There's a lot of ways to approach this, and I think it's probably dependent on the arrangement of the songs and the guitars sounds being used.

That blastbeat section in the second song was unexpected and interesting.

IMO, the less reverb used, the larger a thing will sound. In troof, i only use reverb on anything, when i want to de-emphasize it.

An exception might be some of the smaller room sorts of reverbs, where the tail is actually almost more of a slapback delay sort of thing. If you find the right one, that kind can actually bring something out more in a busy mix, especially on things like snares.

When you say mono, do you mean single guitar? In troof, i actually like that best, because you can really let the thing take up like a solid fourth-to-a-third of the mix, all by itself. Though, that is probably also mainly because my overuse of compression likes as few pieces as possible.

I would actually be interested to hear what the first thing sounded like with a drier guitar. Sometimes, even if that is a guitarist's "sound", a dood will be using too much for what might sound best on a recording. IMHO. If it had to only be one guitar track i would prolly ask the guy to do a much drier one, at least as a test.

The second band especially, but to a degree, both, the vocals are a bit overloud.

Otherwise, an interesting pair of things to be involved with. Both need bassplayers pretty badly, IMO.

But yeah, just personally, i prefer a screamy singer a bit further back in a mix, to make them fight the guitars a bit more. You hardly ever get someone who is that much louder than the guitars in a live situation, so to have a recording mixed like that just feels imbalanced to me.

Agreed on screamy vocalists sitting back in the mix- I've always thought it sounded kinda goofballs to have a screamer or DM vocalist mixed way upfront as if they were a pop singer. In a punk or hardcore context, it seems in keeping with the genre aesthetic to have them sound as if they're fighting to be heard over a loudass band. Metal has a lot more wiggle room WRT its being totally appropriate to sound completely unnatural; it just sounds silly for even a sing-y metal vocalist to stick out in front of the band as if they were Katy Perry or someshit, never mind a screamy or growly one.

Doing it wrong/this sounds bollocks:




Unrelated: after this week I'll have had actual classroom experience corrupting the youf of Amerika.

Got some more stuff added to my leg which appears to be becoming a sleeve now So pleased with this, definitely my favourite so far. Also the most painful, not getting much sleep last night/waking up still baked this morning probably didn't help. Tattoos are addictive as fuck though.



moar pics - http://imgur.com/a/pofcT

Nine to five lifestyle, man. On the weekends I get wasted with Human Compost and do br00tz vocals.

My Fiesta will arrive uh, probably in May. It's because I wanted it in red. I got a sick deal on it though.

I am getting pretty decent at this stuff I am thinking:

https://dl.dropboxusercontent.com/u/137 ... %20Mix.mp3

Sounds fantastic man.

Thanks, dude! I definitely have learned a lot in the past few weeks.

Just for the sake of sharing: guitars here were Colin's LP into my 800 with the Bristol Bomb OD pedal I have. Mics were Oktava Mk012 on the speaker cone, Audix i5 at a 45 degree angle aimed at the junction of the speaker cone and dust cap, but leaning more towards the cone. Best mic combo I have found so far, the PR40 and SM7 I am borrowing did not mix well with the Mk012 which I am really loving. They just sounded like doodoo. My theory is that because it's a hypercardioid it's picking up a much narrow frequency band than the LDDs. It's also a sort of scooped mic, so it's not got much of any midrange coming in and there isn't really any high end to speak of with how that mic is positioned. I am assuming I am getting a lot of good frequency separation between the two mics and am eliminating a lot of the phase cancellation that was going on with the other mics. I'm excited to try a closer positioning so as to eliminate some of that room sound for the drier production my band will be using for our split songs. The mics were probably 3" off of the grille.

Bass was my PJ acting mostly as a P bass into a Peavey Mark III rig.

pretty rocking broheim.