Non-Guitar Centric Music

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  • ClarkyClarky Frets: 3252
    Snap said:
    eyup @Clarky I finished it, ended up putting some guitars in it for one of the board's composition challenges. Still, it's synth centric enough. All synths done in Omnisphere too. tending to use that for most everything at the moment. It's a bottomless pit really, magic


    this is really cool.... sounds wonderful..
    your production has come on in leaps and bounds..
    play every note as if it were your first
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  • SnapSnap Frets: 5148
    @clarky thanks mate. I'm really working on production, so appreciate that. I record everything now at low level, at least minus 6-10db. Also working hard at EQ and compression. It's obvious, but giving every part it's own frequency signature works so well. Also, took me a while to realise that volume isn't the only solution to making something heard in a mix, particularly chugging guitars.

    I'm narrowing my tools down too. Getting to grips with one EQ, one comp, one reverb. 
    I really like the soundtoys gear - sound so good. 
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  • ClarkyClarky Frets: 3252
    Snap said:
    @clarky thanks mate. I'm really working on production, so appreciate that. I record everything now at low level, at least minus 6-10db. Also working hard at EQ and compression. It's obvious, but giving every part it's own frequency signature works so well. Also, took me a while to realise that volume isn't the only solution to making something heard in a mix, particularly chugging guitars.

    I'm narrowing my tools down too. Getting to grips with one EQ, one comp, one reverb. 
    I really like the soundtoys gear - sound so good. 
    awesome stuff... really makes a difference don't it when you place everything each in it's own space..
    it's the difference between clarity and mush..
    took me a long time to figure that out..
    play every note as if it were your first
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  • SnapSnap Frets: 5148
    Clarky said:
    Snap said:
    @clarky thanks mate. I'm really working on production, so appreciate that. I record everything now at low level, at least minus 6-10db. Also working hard at EQ and compression. It's obvious, but giving every part it's own frequency signature works so well. Also, took me a while to realise that volume isn't the only solution to making something heard in a mix, particularly chugging guitars.

    I'm narrowing my tools down too. Getting to grips with one EQ, one comp, one reverb. 
    I really like the soundtoys gear - sound so good. 
    awesome stuff... really makes a difference don't it when you place everything each in it's own space..
    it's the difference between clarity and mush..
    took me a long time to figure that out..
    I'm a long way from figuring it out, but I'm enjoying the learning. Last year I spent a day in a studio up here, with a chap who has produced a lot of good bands from Sheffield - Arctic Monkeys, Pulp to name a couple. The whole day was about production really as I had already done all the parts. Really enjoyed it and I hope to have some more time with him. Alan Smyth at 2FlyStudios. 

    Also, in the live room, he had some awesome amps - well, I had to have a rip, obviously......
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  • ClarkyClarky Frets: 3252
    Snap said:
    Clarky said:
    Snap said:
    @clarky thanks mate. I'm really working on production, so appreciate that. I record everything now at low level, at least minus 6-10db. Also working hard at EQ and compression. It's obvious, but giving every part it's own frequency signature works so well. Also, took me a while to realise that volume isn't the only solution to making something heard in a mix, particularly chugging guitars.

    I'm narrowing my tools down too. Getting to grips with one EQ, one comp, one reverb. 
    I really like the soundtoys gear - sound so good. 
    awesome stuff... really makes a difference don't it when you place everything each in it's own space..
    it's the difference between clarity and mush..
    took me a long time to figure that out..
    I'm a long way from figuring it out, but I'm enjoying the learning. Last year I spent a day in a studio up here, with a chap who has produced a lot of good bands from Sheffield - Arctic Monkeys, Pulp to name a couple. The whole day was about production really as I had already done all the parts. Really enjoyed it and I hope to have some more time with him. Alan Smyth at 2FlyStudios. 

    Also, in the live room, he had some awesome amps - well, I had to have a rip, obviously......
    must have been amazing and really enlightening to get up close in the studio with someone that really knows what he's doing..
    play every note as if it were your first
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  • SnapSnap Frets: 5148
    It was mate, really good. Learned a lot about notch EQ. He'd just be sitting there, saying things like "hmm, there's something whistling in that guitar sound...........ah, there it is" and taddaaa - sounds so much better. 
    Also made Pro Tools look like the best DAW in the world.

    I know this is out of place in here as it's mostly guitar based, but this is the result. I came in with all the audio parts done and he spent the day mixing it. Sounds so much better than what I came in with, with relatively simple processes. Took away a lot of learnings. I had planned to put a vocal on this, but like many things, never happened.


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  • ClarkyClarky Frets: 3252
    Snap said:
    It was mate, really good. Learned a lot about notch EQ. He'd just be sitting there, saying things like "hmm, there's something whistling in that guitar sound...........ah, there it is" and taddaaa - sounds so much better. 
    Also made Pro Tools look like the best DAW in the world.

    I know this is out of place in here as it's mostly guitar based, but this is the result. I came in with all the audio parts done and he spent the day mixing it. Sounds so much better than what I came in with, with relatively simple processes. Took away a lot of learnings. I had planned to put a vocal on this, but like many things, never happened.


    ah yes.. there are two reasons to eq.. corrective and sweetening..
    corrective is most often surgically removing some nasties so tends to be subtractive and with quite thin bands..
    sweetening happens after, usually with much wider bands and is a sort of broader brush..
    it's a real art.. not something I'm great at but wish I was 
    play every note as if it were your first
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  • SnapSnap Frets: 5148
    too right. One thing I think Alan really nailed was the drums on this track. I think they sound superb. That and also the piano, which ended up being very thin in isolation, but perfect for the mix. Clever.
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  • ClarkyClarky Frets: 3252
    Snap said:
    too right. One thing I think Alan really nailed was the drums on this track. I think they sound superb. That and also the piano, which ended up being very thin in isolation, but perfect for the mix. Clever.
    yeah the drums sound great...
    mixing a real kit is some sort of dark magic 
    on the few times I tried I don't think I ever got it right..
    play every note as if it were your first
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  • SnapSnap Frets: 5148
    you know, thinking about it, recording and mixing live drums must indeed be a dark art. It's hard enough with a sampled kit.
    Vocals are the thing I find hardest to sing, record and mix, full stop. Always sound out of balance, too thin, you name it. 
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  • A few months ago I released my first non-guitar centric EP. I wrote and recorded all of it on a laptop over the course of multiple train journeys, I used the laptop keyboard as a virtual keyboard in ableton.

    Here's a youtube playlist. I'd love to hear what you all think:




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  • SnapSnap Frets: 5148
    @StephenB great stuff mate! really liked it. Reminds me of quite a fwe things, bit of M83 going on there too. And it's good to have a new voice in here cheers
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  • SnapSnap Frets: 5148
    Thread bootup.

    This one, whilst it's a cover, was all about space and strings, aiming for a big epic feel that has a full sound, big bottom end, but still enough air in it. Plus .....vocals!


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  • SpringywheelSpringywheel Frets: 564
    edited July 2021
    Snap said:
    Thread bootup.

    This one, whilst it's a cover, was all about space and strings, aiming for a big epic feel that has a full sound, big bottom end, but still enough air in it. Plus .....vocals!


    That’s the second awesome Gary Numan cover I’ve heard on the forum this week. It rings a bell though...I believe you’ve submitted it to a previous cover challenge. Great atmospheric production typical of industrial rock/metal. I like the distorted guitar tones as well...is that a Boss Ds1?
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  • SnapSnap Frets: 5148
    edited July 2021
    thanks mate, no I didn't submit it to a comp, but I did post an earlier version of it. I redid quite a lot of it recently. Revisited the mix, put a new drum track in, added some new guitar in the end section and rerecorded the bass using my new and simply fantastic Yamaha Peter Hook signature bass. The sustain is something else, it really is. It just rings and rings

    Guitar - there are a few tracks in there, all of it done in Guitar Rig 5 actually. I've just got GR6 too, which is really good, sounds a lot better across the board. Thinking about it, there might be some Waves stuff on the guitar. Can't remember

    Thanks again!

    J

    (I'm an unapologetic Numo fan. But not a weirdo pmsl)
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  • SpringywheelSpringywheel Frets: 564
    edited July 2021
    Snap said:
    thanks mate, no I didn't submit it to a comp, but I did post an earlier version of it. I redid quite a lot of it recently. Revisited the mix, put a new drum track in, added some new guitar in the end section and rerecorded the bass using my new and simply fantastic Yamaha Peter Hook signature bass. The sustain is something else, it really is. It just rings and rings

    Guitar - there are a few tracks in there, all of it done in Guitar Rig 5 actually. I've just got GR6 too, which is really good, sounds a lot better across the board. Thinking about it, there might be some Waves stuff on the guitar. Can't remember

    Thanks again!

    J

    (I'm an unapologetic Numo fan. But not a weirdo pmsl)
    I did notice the bass - was thinking it must be a real one rather than samples to have that ballsy sound. I use Kontakt samples in a piano roll cos I’m a lazy git . makes sense to use guitar rig for this style... I think digital distortion actually works best for industrial (or whatever you want to call it) rock/metal. 
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  • SnapSnap Frets: 5148
    I got the Yamaha bb1200PH a couple of months ago. Always been a fan of Hooky so was keen to get this. My previous main bass was a Stingray. The BB is in a different league IMO. Has an active passive circuit and a single reversed split coil. The clarity and sustain is very impressive. Its a really versatile bass and has a lovely neck. Build quality is superb too. Possibly the best bass I've played. 
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