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Alternative rock mix questions

Discussion in 'Recording' started by Skinflint, Oct 10, 2008.

  1. Skinflint

    Skinflint Active Member

    Hi there guys, i am new here and would like to use this thread to ask questions about mixing alternative rock music to the likes of Breaking Benjamin, 3 days grace and Seether. I intend to use this forum alot in the future and will share my mixes for constructive critiqeu aswell in the hopes of becoming a better engineer.

    To start off i will ask a simple question to just clear something up and make 100 percent sure.

    When i listen to these sort of mixes because there are so many dense distortion guitars in the mix would the cymbols contain more highs than the guitars, so the guitars are a little more dull? it sounds like this to me and would make sense to make space for the cymbols. would it then be best to let the cymbols contain the highs and the guitars less?

    These sort of mixes are what i would like to focus on.
     
  2. GeckoMusic

    GeckoMusic Guest

    If it sounds good, do it... but generally, that is the way I mix them. So we are probably both doing something wrong :)

    Although, this is not always the case. If the crash cymbal is used to punctuate musical phrases, then It will be heard even if there is strong content in the guitars. If the Hi-Hat or Ride have a very strong transient nature, and the guitar is "a wall of sound" then the cymbals can be heard even if they have the same frequency range. The difference in the transient nature of the sound makes our brains able to distinguish the sounds.
     
  3. SuprSpy79

    SuprSpy79 Active Member

    Just want to clarify breaking benjamin, seether and 3 days grace are hard rock, not alternative :) hehe.

    I tend to roll off the highs on the gtrs usually above 8k and then bring them out a bit around 1-2k to make em cut through a bit more. I like to boost the eq and sweep it back and forth, finding areas where it doesnt really change the sound much, then cut it there a little bit as well.
     
  4. Skinflint

    Skinflint Active Member

    Thanks for the clarification ;-) i generally use the term alternative as it covers a wider spectrum of "hard" music.

    Ok so if i cut all frequencies from 8khz on the guitars i can add it on the cymbols for "brilliance" i like, so im creating space in my mixes for all instruments.
     
  5. GeckoMusic

    GeckoMusic Guest

    Just in case that was a question: You have it. That is using the EQ to mix in a nut shell.
     
  6. RemyRAD

    RemyRAD Well-Known Member

    That's a good question. Equalization is not the answer. Proper microphone selection is.

    Electric guitars, distorted or not, typically are not rich in high-frequency content like cymbals. You just don't find that kind of equalization in Neve 1073's 3115's, etc.. That never stopped good engineers from making quality recordings that you love. It wasn't from putting in massive cuts at 8kHz. The more equalization UU's the more phase shift you will induce. So that's not necessarily the answer. Equalization can sound great when used properly. That spectral like the way of mixing works for some but is not necessarily applicable to all.

    Non-spectral engineer
    Ms. Remy Ann David
     
  7. Skinflint

    Skinflint Active Member

    thanks for the reply, what microphone do you suggest for heavy rock guitars? md 421, sm 57? and what if using a line 6 pod x3 live to record direct?
     
  8. hackenslash

    hackenslash Active Member

  9. Doomith

    Doomith Guest

    There is a really good technique commonly known as, 'The Sneap V' where one mic is pointing on axis to the speaker cone and the second is beside it off axis to the cone.
    I've used it several times with great success.

    There is a big thread here on that technique if you are interesting in trying it out!

    http://www.ultimatemetal.com/forum/production-tips/221136-clayman-sound.html
     
  10. Skinflint

    Skinflint Active Member

    thanks for all the replies, im checking out that mic technique.
     

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