@NollyPeriphery

Adam Nolly Getgood

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You guys are amazingly tight live, do you have a click track in your in-ears when you're playing or is it only Matt that has that?

Thank you, everyone has their own preferences for their in-ear mixes but personally I am mainly hearing myself and the click track in mine. If nothing else, it's a failsafe in case there are technical issues - I can play the set without problem as long as I can hear myself and the click. Matt plays very tightly though, and when we are all "locked in" you don't really notice the click any more. Hearing the click track means we we can all start songs without an audible count-in, and stay on pulse during sections without drums too.
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Liked by: Angga Wirawan Hector Arambula BtK Ariel Encinares Cody House Fafa Jack Sharman David Sweetland David BenCo Klim Chiryev

Hi Nolly! Been following and jotting down your audio production tips this far thank you so much for taking time for us! Just want to ask, at what sample rates do you usually set during tracking, mixing, and mastering? Does the choice of sample rate affect the quality of one's production? Thanks! :)

Hi! I generally default to 44.1kHz unless I'm planning on recording guitars or bass using the digital out from the Axe-FX II which is set at 48kHz in which case I'll track everything at 48. I've not found there to be any substantiatable benefit to tracking or mixing at higher sample rates, personally.
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Liked by: Andrew White Kasey Porter Akbar Hossain Clay Lindstrom Robert Percy Francis Garde salla

In Alex Rudinger's drum video of Monuments "I, The Creator", it says you didn't use any samples when you mixed it. How did you get the snare "explosion" effect without samples?

Alex puts a pair of mics outside his drum room aimed outwards into a hallway/staircase. They still sound quite dry, so I used a transient designer plugin with the "sustain" control set to full to make them sound much bigger. On the back end of the room track channels I have have an expander that is keyed from the snare channel so ambience jumps up in volume whenever the snare hits, a little bit like the classic gated snare reverb trick - this is something I do in more or less all of my drum mixes with decent natural room tracks.
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Liked by: Max Smith Wilmer Rodriguez Quintana Jesse miller BtK Zachary Purnell Joe Brabenec Kasey Porter Spencer Schmid dal Arya Akbara

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Hi Nolly! I'm really amazed of your dedication in music. You seem like a person set to work hard on achieving the goals you've set. My question to you: Is there a possibility of recording having the same settings for a vocalist singing both neutral(low) and overdrive(high), without having it peak?

Hi, thank you very much! Yes, I like to track vocals through compression on the way in - usually my Distressor - to be able to level out some of the volume disparities between their various ranges and delivery. That said, mic technique is an important part of being a good studio vocalist, and the best singers I've tracked have always required less work on my end at every point of the recording and mixing process.
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Liked by: Wyatt Traxler Pavel Vanegas Kasey Porter Courtney Riley Klim Chiryev Ian McIntosh Spencer Schmid Roberto Salgado Loyalty Daniel Herrera

Hey Nolly, really dig your work when it comes to Alex Rudinger's drum covers(drums sound fantastic!) How long does it usually take you to mix his drums for the videos, depending on how busy you are? Thanks man.

Thanks, Alex provides really great sounding, flawlessly played drum tracks so it usually takes me about 20 mins to mix the audio.
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Liked by: Klim Chiryev Courtney Riley Roberto Salgado Ben msja J.D. Walker xenokorv Patrick Sheppard BtK Vedant Aditya Noah Dashney

I've noticed that since Juggernaut, the snares in your mixes always have an amazing "smack" to them. Are you using a sample to get that character every time or is it something else?

Thanks! I think you're just hearing the compression I'm using on the snare - usually either the Metric Halo channel strip or the red compressor in the Slate Virtual Mix Rack. It's always dialled in with very standard settings - medium-slow attack, fast release to emphasise the impact. The parallel compression bus then fills some of the body and sustain back in, and the clipping/limiting on the master bus takes away some of the unpleasant "pokeyness" that will be present. I try not to use any snare sample unless strictly necessary which is only really if I'm having to work with poorly tuned and/or engineered source tone.
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Liked by: magnusvonkilgore Pavel Vanegas John Kevin Heard ~Sora Arya Akbara Manu Gentoo Vedant Aditya Randy Massia Dave Taylor-Dean Self

Hey, I just heard the My Project Ghost single "Cherish" you produced.. it sounds unreal. What drum/guitar/bass rigs did you use? Thanks!

Thanks, I'm glad you like it! For drums we used a Mapex Saturn kit with a Ludwig snare, tracked at Monnow Valley studio. Guitars were tracked live alongside the drums for the most part, we used Morgan's Wirebird into my Dan Gower modded Plexi, into a Zilla 2x12. Bass was my Dingwall Super P into Darkglass B7K and other software bits and bobs.
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Liked by: Aidan Pouncy Manu Gentoo Kasey Porter Caleb Burkhart Clay Lindstrom Dude loid

These days do you prefer to use the Axe FX or actually mic up a real amp and cab for guitar tones when you're producing bands?

I love the element of experimentation and the uniqueness of the end result when using a real amp and cab setup, but I have to say every time I come back to dialling in tones on the Axe-FX I'm reminded just how good and realistic it sounds if you treat it like you would a real rig, and how convenient it is. I'm currently reamping some guitars through the Axe-FX with a crunchy Marshall-esque tone and it's utterly convincing - the low end dynamic response is spot on with a hint of reflected room sound I don't think anyone would identify it as a modeller in a blind test.
I'm sure I'll continue to use both real amps and the Axe-FX in the future, it's an amazing time to be working in audio with all of the technological advances we're seeing.
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Liked by: magnusvonkilgore Caleb Burkhart Gavin Keith Kennedy Vedant Aditya Clinton Tustin Marco Bicca Bennie Hill Patrick Sheppard Clay Lindstrom Marc-Antoine Joly

Hey, I watched the Juggerdoc and apart from the whole thing being great I was shocked at your bass tracking! It's so tight and you are picking so hard! How do you learn to do that, do you have any tips? I can understand now why the bass sounds so good on Juggernaut.

Hi, thanks so much! The best way to learn to play very tight is simply to record yourself often and be very hard on yourself when listening back to how your playing sounds. You don't necessarily have to pick ultra hard, but it should sound aggressive and beyond all else, it should sound consistent. If you're recording a DI, you'll have the best visual representation of your playing too - you'll be able to see from the level of the peaks of the waveform just how consistent your picking is.
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Liked by: magnusvonkilgore Pavel Vanegas Eneko Maille Andrew Lee Ajit Jejurikar Matt Liew Yaresh-Bartholomeus Soekhlal pierre touron Roberto Salgado Zach Everett

Hey Nolly, if I recall correctly a couple of months ago you posted something on Facebook about just having recording the 'heaviest song Periphery have ever written', could you now possibly reveal which song you were alluding to with that? Absolutely blown away with Juggernaut so far!

Hey, that would be Hell Below. I'm glad you're enjoying the albums, thanks for the support!
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Liked by: Kevin Baron pierre touron Ryan Johnson Ajit Jejurikar Matt Liew Zac Turner Emmanuel Radin варнава-базиль Harley (Nemo) Cody Christian

Hey Nolly, what's you opinion/method on guitar tracking? Do you prefer dual? Quad? Hexa? Lol

I go for double tracking for any unison parts. With some bands I feels more right to stick to dual tracking for harmonised parts, making the sound asymmetrical, but with others the harmonies will come in on another pair of tracks to make 4 total. On Juggernaut we quite frequently quad tracked with one of the pairs running through an octaver effect, and in some places there were harmonies too so a few things might have ended up being "hexatracked" or even "octatracked". I like to keep things simple wherever possible though, that many rhythm guitar tracks often can end up sounding a mess if tuning and performances aren't entirely perfect!
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Liked by: Djentyswag Gary Dorsett Manu Gentoo Andrew Lee Clay Lindstrom Spencer Schmid Matt Liew Woottipat Herabat Roberto Salgado Miško

Why no bass solo love for juggernaut? Your bass has nearly as many strings as everyone else's guitars.

There isn't a bona fide bass solo on Juggernaut but there are a couple of cool moments, particularly in Rainbow Gravity where Misha and I play off each other a little in the guitar solo section. It's not a solo per se, but I mimic and harmonise a few things he plays - it was good fun to put together!
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Liked by: magnusvonkilgore Djentyswag Hannu Karppinen Kevin Baron Will Croft Aidan Simpson Niko Drums Kev варнава-базиль Zach M

What do you do to keep healthy and active when on the road? besides performing

I really like walking, especially if I'm exploring a new city, so that can be a good way of being active. It's a bit tougher on winter tours where the weather can be really unpleasant, so I'm going to try joining some of my bandmates who do some cardio/full-body workout routines most days on tour.
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Liked by: Daniel Devaraj Arul Connor Hansen Woottipat Herabat Ryan Ruff Robert Percy

How much of your Juggernaut bass tone is the Dingwall's you use? Like, could you get that sound with another really good bass?

I could get a sound I like with another bass and frequently work with other peoples' instruments when I'm engineering/mixing material for other artists, but the Dingwalls do have a very distinctive character that is always present no matter how distorted or processed I make my tone, and that character is very audible in the Juggernaut bass tone. From an engineering perspective I also find that the Dingwalls have a very consistent low end that makes it very easy to record and mix. I'm sure this sounds like a shameless plug, but the reality is these are the exact qualities that I love about Dingwall basses, and that's why I use them exclusively.
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Liked by: Pavel Vanegas Andrew Lee Ryan Johnson Bennie Hill Cody House Clay Lindstrom Kasey Porter Courtney Riley Luciano Díaz Rhys

I never seen a question/comment about the recording experience with AAL (particularly the guitars) for their new album "The Joy Of Motion". What was it like working with Tosin and Javier?

You'd probably have to scroll back a long way but there were a lot of questions around the time Joy Of Motion came out. It was a really cool experience working with those two and Matt of course, I really hope I get the opportunity to be a part of their next record too, whenever that may come to fruition.
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Liked by: Wilmer Rodriguez Quintana Kev Woottipat Herabat Robert Percy Kasey Porter Spencer Schmid Ryan Johnson Jesse miller Roberto Salgado

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