90% of the time, the bass sounds better once I've removed everything. If I bring the bass back in and still can't find a place for it, I pull all the processing off it and start from scratch. If I find myself really struggling to place the bass or guitars in a mix, I mute the bass and re-balance the guitars against the drums. Often I'll add a bit of emphasis around 1k or 1.5k, and I may beef up the bottom end as well (frequency range depends on the how the bass interacts with the kick drum).Ī common problem for me is over-working the bass, which kind of unglues it from the drums, which makes it hard to balance the guitars. With bass, I tend to try to record a tone that's light in the 200-300Hz range (or, if need be, EQ that range out a bit). I can't for the life of me make an EQ boost sound good on amp sim tracks. The only exception is when I'm mixing tracks that were recorded with an amp sim. I aim to avoid EQ boosting on guitars as much as possible, however, in real life mixes, this rarely works out. Even when I'm EQing the upper mids, I'm still really listening to the low mids, trying to see how each change in frequency balance affects the way the guitars play against the drums and bass. The low mids are my biggest personal hurdle when mixing high gain guitars. Guitar EQ varies so much, from hacking away like crazy (which is a total drag) to not really doing much beyond HPF and maybe LPF. Much higher and the bass and guitars can become too separated, while also creating a bit of a hole in the lower midrange of the mix. I usually don't HPF much above 70Hz or 80Hz on guitars. Usually ill cut the pickups off at around 200 Htz at a 18 db roll off.That strikes me as kind of high. So how do you get the bass and rhythm guitar to stick together? Experiment with different combinations and don't pigeonhole your recording. I say, take time to listen and get the best tone you can. Most metal acts are freaking cookie cutter versions of each other. You take the situations as they come to you and you make the best of them. Does that mean it's instantly going to be a bad sounding recording because I didn't adhear to certain rules about making metal records? It wouldn't matter what I did because he wouldn't be happy with it and it wouldn't sound like him.
He was dead set on using his Rivera head, because that's HIS tone. I'm recording a metal group right now that I didn't particularly care for his tone, and I asked about using a Soldano that sounds killer. What if you have a band that simply doesn't WANT to sound like every other metal group out there? Where does your "5150 formula" go now? Does that mean they can't have a great sounding record because they didn't use the "magic formula for perfect metal guitars"? LOL This comment is what I love about gearslutz.
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