I don't usually tune in to hard-core, thrashing metal, Hungarian goulash rock. But if I were to? This would be it. Hands down. It was smokin'! Pervert... you pervert... it's perfect. And how much money on a college degree did you have to spend to get that? I think the world wants to know? What did you use to accomplish this perfectly world-class SSL style recording and production? Are you always this good when you're this angry? Or was it the beer? Certainly not American beer.

Well I think I should be waffle chasing now?
Mx. Remy Ann David

Thanks Amy for the feedback, I feel a little sarcasm in your writing... We recorded it on low budget to gain some experience in recording as well since with our previous two recording in a non pro studio we didnt get the sound we wanted to due to the lack of the mix engineer's experience in this genre. No fancy stuff, Presonus Firepod interface, the main mics were Shure SM57 and an AKG C414. Oh yeah and a pair of Sterling Audio ST 31s. All recorded in our rehearsal room which is not fully treated. Mixed in Sonar on a pair of Adam's A3Xs. Btw it wasn't beer it was wine and no goulash since the half of the band is vegetarian! Cheers

Even though I'm certainly not someone who could be considered a fan of this style, I actually kinda like this recording - and say what you want about metal or hardcore, but at least it's real. There's a passion there that's not contrived, and it does require chops to play... and it also requires some specific recording techniques. So while I'm not a fan of the entire "screaming in your face" genre', I can say that I'd rather listen to - or work on - a project like this, over a bland sample/loop insert-copy-paste production, any day of the week.

All in all, this was pretty well done. And I don't think you really could have done a whole lot better even if you had recorded it in an SSL room. Nor do I believe that the engineer is entirely to blame here..

Whomever tracked and mixed it had a nice handle on vocals - which are present and upfront, ( I can't decipher what the singer is saying but tonally it's good), the drums are powerful, yet clear, with kick and snare doing a great job of tonally supporting the other tracks, cymbals having that nice silk on top (can't tell if they are triggered samples or replacement drums, - I have a hunch that they are -but no matter, they work for this).... and the guitars are powerful and imaged nicely in the mix, without being harsh... so I don't think it's fair to place the blame solely at the hands of the engineer.

For the most part, the band's performance is passionate, energetic... and very tight. But there is one thing that bothers me, and it's common in almost all lower budget metal recordings that I hear...

And that is that the bass guitar is undefined, loose and frumpy sounding. There's just nothing there - beyond its fundamental frequencies - to define it in the mix. And that's not necessarily the engineer's fault. In fact, most of the time, it's actually a performance thing.

And it doesn't have to be like this.

Plenty of other metal acts have great bass players who perform parts that are awesome....definable, and that compliment the other instruments...Metallica, Megadeath, Godsmack... are but a few where the bass guitar on their tracks is totally definable, clear, and supportive. You can hear it, you can feel it. You can pick it out as its own performance. I can't do that with this song you've posted.

I don't know if it's because - as in so many cases of lower budget recordings - the bass player is actually just a guitar player who picked up the bass, or, is a bass player who thinks that the best part to play is to simply clone the root of what the guitars are doing - except just doing it an octave down - in either case, there's nothing for the listener to grab onto, no definable "part", ....or, if it's because the bass parts are poorly written, performed, recorded or mixed... maybe it's a combination of all these things.

I think if you can get that part handled, you're gonna be far more pleased, and you'll be onto something here. Get with your bass player, encourage him - or help him - to write a specific part for the bass, something counter to playing a part that simply clones the tonic chords of the guitars, something with a bit of movement or counter melody/ counter rhythm, that sets it apart... but that still supports the song.

At that point it will be much easier for the engineer to work with, so that it isn't so buried in the mix.

Finally....You are in dire need of a producer - someone who is entrenched in this style. You need someone to be able to pick up on these types of issues during rehearsals or sessions, and direct the band to do certain things to have better song and recording... and this isn't an engineer's responsibility. The engineer's responsibility is to capture your performance as accurately as possible and to make it sound as good as it can with the tools at his/her disposal and the knowledge to use these tools.... But it isn't their job to point out to you that you need to alter or rearrange parts. Some might mention it, but beyond that, either the band needs to handle it, or, a producer does.

IMHO of course.

d/