Best headphones for mixing??
I just purchased Sennheiser HD600 with the Sonarworks treatment....I'm not sure if they're the best, but to me it's as good as it gets really. Super comfy as well!
Liked by:
Fabrizio CARENA
Ask @FrancescoFiligoi
Can you tell me some albums that have shaped your songwriting ? or have left you speechless :)
So many... Off the top of my head:
Jason Becker - Perpetual Burn
Gojira - The Way Of All Flesh
Wintersun - Time I
Animals As Leaders - S/T
Nevermore - Dead Heart In A Dead World
Guthrie Govan - Erotic Cakes
Arcturus - The Sham Mirrors
Slipknot - S/T
Testament - The Gathering
ARK - Burn The Sun
Dimmu Borgir - Puritanical Euphoric Misanthropia
Soilwork - Natural Born Chaos
Theory In Practice - Colonizing The Sun
Carcass - Heartwork
Decapitated - Nihility
Children Of Bodom - Follow The Reaper
Suffocation - Pierced From Within
Metallica - ...And Justice For All
Immortal - Sons Of The Northern Darkness
Behemoth - The Satanist
In Flames - The Jester Race
Dodheimsgard - 666 International
Jason Becker - Perpetual Burn
Gojira - The Way Of All Flesh
Wintersun - Time I
Animals As Leaders - S/T
Nevermore - Dead Heart In A Dead World
Guthrie Govan - Erotic Cakes
Arcturus - The Sham Mirrors
Slipknot - S/T
Testament - The Gathering
ARK - Burn The Sun
Dimmu Borgir - Puritanical Euphoric Misanthropia
Soilwork - Natural Born Chaos
Theory In Practice - Colonizing The Sun
Carcass - Heartwork
Decapitated - Nihility
Children Of Bodom - Follow The Reaper
Suffocation - Pierced From Within
Metallica - ...And Justice For All
Immortal - Sons Of The Northern Darkness
Behemoth - The Satanist
In Flames - The Jester Race
Dodheimsgard - 666 International
Liked by:
Elidor Madar
Robert Percy
Do you belive that you can get descent intonation with a 7 string guitar with a lower scale than 25,5" scale ?
If intonation is your main concern, it doesn't get any better than a fanned fret guitar. That being said, less than 25.5" is still good if you play in B standard, but lower than B would be tough to intonate.
It also depends on how far back you can put the bridge saddles, but as a general rule I'd never go lower than 25.5" on a 7.
It also depends on how far back you can put the bridge saddles, but as a general rule I'd never go lower than 25.5" on a 7.
Related users
how far can you go with superior drummer 2 ? I mean is it possible to make it sounds real ? thanks im advance
You can go REALLY far. I do think you can get really really close, for sure.
It's all about knowing how to use it properly - too many guys just go with presets and poorly programmed drums, and it sounds fake as hell. If you pay attention to:
- use raw sounds (SDX, not EZX expansions)
- keep velocities more natural and human
- keep every hit slightly off the grid
- choosing good sounding kit parts
- keep bleed on in between all mics
That's already a good starting point. Couple it with the X-Drum feature (blending samples together or bring in samples from other libraries) and complete control over microphone routing, and you get lots of tools to make the sound even more unique and realistic.
Part of that is also mixing, too many inexperienced folks just use 90% direct mics and not enough room mics - that's a shortcut for dry and fake sound for sure.
The more you raise room mics' volume, the more they'll glue everything together in a pleasing and realistic way.
I look forward to SD3.0 to see how they can up their game even further, but SD2.0 is already super powerful!
It's all about knowing how to use it properly - too many guys just go with presets and poorly programmed drums, and it sounds fake as hell. If you pay attention to:
- use raw sounds (SDX, not EZX expansions)
- keep velocities more natural and human
- keep every hit slightly off the grid
- choosing good sounding kit parts
- keep bleed on in between all mics
That's already a good starting point. Couple it with the X-Drum feature (blending samples together or bring in samples from other libraries) and complete control over microphone routing, and you get lots of tools to make the sound even more unique and realistic.
Part of that is also mixing, too many inexperienced folks just use 90% direct mics and not enough room mics - that's a shortcut for dry and fake sound for sure.
The more you raise room mics' volume, the more they'll glue everything together in a pleasing and realistic way.
I look forward to SD3.0 to see how they can up their game even further, but SD2.0 is already super powerful!
Hey hope everything is going good man. I was just wondering if you could point me in the direction of any decent or good free/cheap plugins for mixing metal/harsh vocals ? Thank you for your time and can't wait for the Abiogenesis stuff !
One plugin in particular that will get the job done, and on top of that it's pretty cheap, is Gain Reduction Deluxe by Joey Sturgis Tones.
Check it here: http://joeysturgistones.com/products/gain-reduction-deluxe
Other cheap stuff I use all the time to make vox stand out more, is SkNote Disto (Distressor emulation plugin): http://www.sknote.it/Disto.htm
Last but not least, a pretty common plugin to make Metal vox even more aggressive is Soundtoys Decapitator, I love it! http://www.soundtoys.com/product/decapitator/
Apart from that, if you just want to reply on free stuff, TDR VOS SlickEq as an EQ and any free 1176 comp emulation will get the job done. Good luck!
Check it here: http://joeysturgistones.com/products/gain-reduction-deluxe
Other cheap stuff I use all the time to make vox stand out more, is SkNote Disto (Distressor emulation plugin): http://www.sknote.it/Disto.htm
Last but not least, a pretty common plugin to make Metal vox even more aggressive is Soundtoys Decapitator, I love it! http://www.soundtoys.com/product/decapitator/
Apart from that, if you just want to reply on free stuff, TDR VOS SlickEq as an EQ and any free 1176 comp emulation will get the job done. Good luck!
Liked by:
Gilad Pearl
Kiran Desai
ayy lmao
Hey bro, hope it's all good! I've been suffering from writer's block for quite a long time now. I've tried it all: listening to non-metal music, stop playing for a while, doing other stuff etc. but nothing happened. Do you have any advice? Thanks in advance!
Everyone suffers from writer's block, it can last months or even years. I can assure you forcing new stuff to come out of nowhere just doesn't work - it has to come out by itself, you can't control the "creative flow".
If listening to new stuff hasn't inspired you enough, or taking a break didn't work either, what I strongly suggest is to cover some tunes you find pretty fresh sounding, or learn new techniques you'd like to apply within your songs. By learning other people's stuff you will internalize these techniques and eventually will be able to re-interpret them with your own twist.
Basically, challenge yourself as a guitarist by learning stuff you're not as comfortable with, but that you still like of course :)
In my case, I often go through months without a single new riff, but tbh I don't care since I have so much music already written that I have yet to release, that focusing on new stuff doesn't help much. But I'm still happy to sometimes have those nights in which new ideas just come out of nowhere, everything flows perfectly and I'm in "the zone" until 8am ^_^
If listening to new stuff hasn't inspired you enough, or taking a break didn't work either, what I strongly suggest is to cover some tunes you find pretty fresh sounding, or learn new techniques you'd like to apply within your songs. By learning other people's stuff you will internalize these techniques and eventually will be able to re-interpret them with your own twist.
Basically, challenge yourself as a guitarist by learning stuff you're not as comfortable with, but that you still like of course :)
In my case, I often go through months without a single new riff, but tbh I don't care since I have so much music already written that I have yet to release, that focusing on new stuff doesn't help much. But I'm still happy to sometimes have those nights in which new ideas just come out of nowhere, everything flows perfectly and I'm in "the zone" until 8am ^_^
When making tones in the Axe Fx how do you know when a cab is just "right" in terms of balance for a specific amp model??
Every time you're comparing different cabs, always ask yourself while listening "is the tone too harsh/scooped/bright/dark/dull/etc?" - If the answer is yes, then it's not the right cab.
Once you listen to a cab that is right, the tone is just there, there's no offensive frequencies and the overall character is full and balanced with "musical" midrange.
A lot of this has to do with experience - the more you get used to listen to tons of cabs, the more easily you can spot good and bad ones. But it's also easy to get ear fatiguing when comparing tons of them, so I often take breaks to rest my ears a bit.
Since it's so easy to get overwhelmed by lots of cab choice and getting confused on which one sounds right to you, here's a tip on how to not get confused.
I call this "elimination tournament": instead of going randomly in between one cab, then another one, then another one, then everything starts to sound the same...just pick the first two cabs in the list and ask yourself "which one is the most balanced? which one is more right to me?" - let's say the first one is better, so just discard the second one and then compare the first with the third, and repeat: "which one is better?" - and again and again, just discard one out of two and repeat once you find the overall best cab out of your list.
Once you listen to a cab that is right, the tone is just there, there's no offensive frequencies and the overall character is full and balanced with "musical" midrange.
A lot of this has to do with experience - the more you get used to listen to tons of cabs, the more easily you can spot good and bad ones. But it's also easy to get ear fatiguing when comparing tons of them, so I often take breaks to rest my ears a bit.
Since it's so easy to get overwhelmed by lots of cab choice and getting confused on which one sounds right to you, here's a tip on how to not get confused.
I call this "elimination tournament": instead of going randomly in between one cab, then another one, then another one, then everything starts to sound the same...just pick the first two cabs in the list and ask yourself "which one is the most balanced? which one is more right to me?" - let's say the first one is better, so just discard the second one and then compare the first with the third, and repeat: "which one is better?" - and again and again, just discard one out of two and repeat once you find the overall best cab out of your list.
What's your way of processing vocals- especially screams- in a metal mix? Would love to know your approach. Also, how important is headroom for vocals?
Here's what I usually do, I'll try to be as detailed as I can!
- Even before recording, make sure to "plan" when to have just one single take, double-takes, three or four takes at the same time, scream/growl at the same time, etc.
Vocals are a key element in driving the flow of the song - because of this, just one take on the center with no automation is not gonna cut it and will likely sound pretty boring. It depends on the genre, but within modern Metal, it's crucial!
- Make also sure there is enough versatility in the screaming itself, from low to high range, depending on what the song needs on each part.
- If you can't be the "producer" and you're just mixing, let's hope the singer has a nice range and you get at least two takes to play with :)
- Once takes are recorded, there's quantizing to be done. If there's also clean vox, autotuning as well, as long as it's done lightly and not the fake stuff you hear on the radio. All this careful editing prior to mixing will actually make the tracks easier to mix and flow better.
If you don't know what quantizing is, basically it's aligning transients to the grid. With vox this is super important since, with multiple takes overlapping each other, you always get weird "T-T" or "S-S" effects because transients don't happen at the same time. Quantizing takes care of that and just makes everything sound more cohesive and tighter.
Google "Vocalign" for easy ways on how to do it - I personally let my editing guy do it, but if you wanna do it the right way, google "slip-editing".
- Group all your tracks into the VOX buss, and pan them according to what the band wants, like "I want them to be all over the place during breakdown", or "make them wider on the high screams", etc. Pan dynamically: you gotta change how close/open the panning is depending on the part. LOTS of automation to be done on vox.
- EQ: start by filtering out boomy lows/low-mids. If, after that, you still get some nasty plosives, you can notch 'em out with mb compression.
Also notch out bad freqs that can make vox sound boxy, look for the center mids area and apply a slightly wider Q cut once you find the boxiest spot.
After that I usually apply additive EQ, usually to boost presence and "in your face" upper mids.
- After boosting high freqs, I apply a De-esser to get rid of harsh syllables. Or I just automate volume down on those parts.
- Since vox are so dynamic, I usually apply two compressors in a row: the first one accentuates transients (Distressor/1176/etc), the second one acts as a "polish" to make everything even (LA2A/3A/etc).
- Saturation/distortion to add even more grit and aggression.
- If needed, another instance of de-essing since comp/sat will bring S's up inevitably.
- Parallel reverb and delay up to taste! Make sure to blend them in with the mix going, otherwise they'll be drown by the other tracks once you un-solo vox.
That's it, hope that helps! As usual, hit me up on FB if interested on Skype lessons, thanks!
- Even before recording, make sure to "plan" when to have just one single take, double-takes, three or four takes at the same time, scream/growl at the same time, etc.
Vocals are a key element in driving the flow of the song - because of this, just one take on the center with no automation is not gonna cut it and will likely sound pretty boring. It depends on the genre, but within modern Metal, it's crucial!
- Make also sure there is enough versatility in the screaming itself, from low to high range, depending on what the song needs on each part.
- If you can't be the "producer" and you're just mixing, let's hope the singer has a nice range and you get at least two takes to play with :)
- Once takes are recorded, there's quantizing to be done. If there's also clean vox, autotuning as well, as long as it's done lightly and not the fake stuff you hear on the radio. All this careful editing prior to mixing will actually make the tracks easier to mix and flow better.
If you don't know what quantizing is, basically it's aligning transients to the grid. With vox this is super important since, with multiple takes overlapping each other, you always get weird "T-T" or "S-S" effects because transients don't happen at the same time. Quantizing takes care of that and just makes everything sound more cohesive and tighter.
Google "Vocalign" for easy ways on how to do it - I personally let my editing guy do it, but if you wanna do it the right way, google "slip-editing".
- Group all your tracks into the VOX buss, and pan them according to what the band wants, like "I want them to be all over the place during breakdown", or "make them wider on the high screams", etc. Pan dynamically: you gotta change how close/open the panning is depending on the part. LOTS of automation to be done on vox.
- EQ: start by filtering out boomy lows/low-mids. If, after that, you still get some nasty plosives, you can notch 'em out with mb compression.
Also notch out bad freqs that can make vox sound boxy, look for the center mids area and apply a slightly wider Q cut once you find the boxiest spot.
After that I usually apply additive EQ, usually to boost presence and "in your face" upper mids.
- After boosting high freqs, I apply a De-esser to get rid of harsh syllables. Or I just automate volume down on those parts.
- Since vox are so dynamic, I usually apply two compressors in a row: the first one accentuates transients (Distressor/1176/etc), the second one acts as a "polish" to make everything even (LA2A/3A/etc).
- Saturation/distortion to add even more grit and aggression.
- If needed, another instance of de-essing since comp/sat will bring S's up inevitably.
- Parallel reverb and delay up to taste! Make sure to blend them in with the mix going, otherwise they'll be drown by the other tracks once you un-solo vox.
That's it, hope that helps! As usual, hit me up on FB if interested on Skype lessons, thanks!
Top tune recommendation for the weekend?
Liked by:
Jon Ojibway
Dans Huang
What's your favourite motto or saying?
The wider the vibrato, the bigger the dick
Hey bro, hope it's all good! So, you do have both a 5150III and an original 5150. What are the differences and similarities between the two? Moreover, which one do you prefer? Thanks in advance, cheers!
Hey, I've already made a video explaining the differences - watch it here :) http://ask.fm/FrancescoFiligoi/answer/124963349332
Liked by:
Arya Akbara
Hey Fran :), what are some of the benefits of picking with the wrist rather than with the forearm in alternate picking??
Liked by:
Arya Akbara
Luciano Díaz
Luca Moqi
Hi, would you agree that it's better to have a job that you don't necessarily love (but don't hate) in order to support your hobby, than to try to make a living with your hobby, with the possibility that you might resent your hobby as it has became your job? Thanks in advance.
Great question! To put it in more simple terms: "Is it better to find a job that gives me enough time and money to develop my passion, or try to make a living out of my passion?"
Option #1: are you confident in your skills? In your potential? Do you think you can bring something different and of high quality in the already crowded music world, or whatever your passion is? Do you envision yourself doing something not-music related for the rest of your life? No?
Then why the fuck not give all your 100% into make a living out of your passion, and strive for it no matter what? I hate to sound like one of those motivational speakers, but you got one life, there's no time for regrets :)
You have no idea how much I fought against my old-school parents in order to do what I felt was right for me...ever saw that Youtube video in which a guy's mother enters his room and tells him all the hours he puts into music are worthless and he'll never accomplish anything and he should get a real job...that's basically my mom. Hearing stuff like this every fucking day is seriously demotivating to the max, but I still fought for it and in the end succeeded into making it my "job".
I write "job" because if you really want to make a living out of your passion, it's never going to be a job. Which actually makes me worry about what you write: "the possibility that you might resent your hobby as it has become your job"... you should never have this doubt if you really believe in it. If you do, maybe it's just a hobby. Sure sometimes I don't like finishing lessons at 3am, but then I remind myself I don't have any fixed hours, a boss yelling at me, I'm not doing a soul sucking 9-5 rat race office job, and I actually help people become better in something they really enjoy. So that keeps me at peace :)
Option #2: another thing that worries me about what you write is you never mention the term "passion", you just call it hobby. Which makes me think you don't believe in it 100%, maybe you really enjoy doing it but you don't think you have that "x factor" (god I hate this word) that can make the difference? Or you just don’t envision yourself doing it for the rest of your life?
If that's the case, then I agree on finding a job that you can do well without stressing yourself too much, that gives you enough time to do other things you enjoy in life, and that's definitely a more than respectable decision - it was exactly what I was doing when guitar teaching wasn't enough to sustain me financially.
Sorry for the long winded answer, hope that helps :)
PS: if living out of your passion doesn’t work in the long term for whatever reason, I think it’s really important to find different "Plan B" income sources or different options when your primary one doesn’t work as planned, no matter how much work you put on it.
Option #1: are you confident in your skills? In your potential? Do you think you can bring something different and of high quality in the already crowded music world, or whatever your passion is? Do you envision yourself doing something not-music related for the rest of your life? No?
Then why the fuck not give all your 100% into make a living out of your passion, and strive for it no matter what? I hate to sound like one of those motivational speakers, but you got one life, there's no time for regrets :)
You have no idea how much I fought against my old-school parents in order to do what I felt was right for me...ever saw that Youtube video in which a guy's mother enters his room and tells him all the hours he puts into music are worthless and he'll never accomplish anything and he should get a real job...that's basically my mom. Hearing stuff like this every fucking day is seriously demotivating to the max, but I still fought for it and in the end succeeded into making it my "job".
I write "job" because if you really want to make a living out of your passion, it's never going to be a job. Which actually makes me worry about what you write: "the possibility that you might resent your hobby as it has become your job"... you should never have this doubt if you really believe in it. If you do, maybe it's just a hobby. Sure sometimes I don't like finishing lessons at 3am, but then I remind myself I don't have any fixed hours, a boss yelling at me, I'm not doing a soul sucking 9-5 rat race office job, and I actually help people become better in something they really enjoy. So that keeps me at peace :)
Option #2: another thing that worries me about what you write is you never mention the term "passion", you just call it hobby. Which makes me think you don't believe in it 100%, maybe you really enjoy doing it but you don't think you have that "x factor" (god I hate this word) that can make the difference? Or you just don’t envision yourself doing it for the rest of your life?
If that's the case, then I agree on finding a job that you can do well without stressing yourself too much, that gives you enough time to do other things you enjoy in life, and that's definitely a more than respectable decision - it was exactly what I was doing when guitar teaching wasn't enough to sustain me financially.
Sorry for the long winded answer, hope that helps :)
PS: if living out of your passion doesn’t work in the long term for whatever reason, I think it’s really important to find different "Plan B" income sources or different options when your primary one doesn’t work as planned, no matter how much work you put on it.
Liked by:
Dans Huang
Luca Moqi
Luciano Díaz
Gary Dorsett
What's your way of processing bass guitar in a metal mix? Would love to know your approach.
There's many ways to do that, it totally depends on the band, player and sub-genre.
Also it's how the bass itself should be approached in the frequency spectrum - for example, I'd never process a Job For A Cowboy bass track the same way as an Emmure bass track.
That being said, my most common approach is treat bass in two ways, which means two different tracks:
- Track 1: add solid low end punch in the mix alongside the kickdrum
- Track 2: glue with the guitars to add bite, grind and "chaos" in the midrange to achieve a massive wall of sound
Track 1 is generally lowpassed quite a bit, so that I only operate on low end information (the fundamental bass note). The purpose is to make this low end as solid and consistent as possible, which means a healthy amount of compression and limiting (76 style comp and L1 style limiter would be my choice). Apart from that, definitely EQ to remove nasty frequencies and just make that low end clean and powerful.
Track 2 on the other hand is highpassed, since we've already taken care of the low end on Track 1.
On this track I usually like to experiment a lot with these options:
- SansAmp (pedal/plugins)
- Darkglass B7K pedal
- FabFilter Saturn
- SoundToys Devil-Loc/Decapitator
- Izotope Trash
- Mesa Recto ampsim
All of these are valid depending on the situation or sound I'm going for - it's just different colors to obtain a nasty overdriven/distorted wall of clank that will glue nicely with the guitars.
As an additional "secret sauce" effect, you can try blending in a hint of chorus on Track 2....seems weird, but it works :)
Once both tracks are done, level up to taste and maybe an additional compression stage if needed, and that should be about it. Hope that helps :)
Also it's how the bass itself should be approached in the frequency spectrum - for example, I'd never process a Job For A Cowboy bass track the same way as an Emmure bass track.
That being said, my most common approach is treat bass in two ways, which means two different tracks:
- Track 1: add solid low end punch in the mix alongside the kickdrum
- Track 2: glue with the guitars to add bite, grind and "chaos" in the midrange to achieve a massive wall of sound
Track 1 is generally lowpassed quite a bit, so that I only operate on low end information (the fundamental bass note). The purpose is to make this low end as solid and consistent as possible, which means a healthy amount of compression and limiting (76 style comp and L1 style limiter would be my choice). Apart from that, definitely EQ to remove nasty frequencies and just make that low end clean and powerful.
Track 2 on the other hand is highpassed, since we've already taken care of the low end on Track 1.
On this track I usually like to experiment a lot with these options:
- SansAmp (pedal/plugins)
- Darkglass B7K pedal
- FabFilter Saturn
- SoundToys Devil-Loc/Decapitator
- Izotope Trash
- Mesa Recto ampsim
All of these are valid depending on the situation or sound I'm going for - it's just different colors to obtain a nasty overdriven/distorted wall of clank that will glue nicely with the guitars.
As an additional "secret sauce" effect, you can try blending in a hint of chorus on Track 2....seems weird, but it works :)
Once both tracks are done, level up to taste and maybe an additional compression stage if needed, and that should be about it. Hope that helps :)
Liked by:
Roland
Dans Huang
Dude
For someone who doesn't have an axe fx, Which would you say would be a better bet, Buying CabLab with the Misha Cab pack, OR Buying the whole Redwirez entire impulse bundle with the MixIR2?
Redwirez IRs are pretty outdated - their concept is to capture as many positions as possible in a very clean way, but it's very counterproductive as you just spend a long time and fry your ears before finding something solid from their libraries. Nowadays cab packs from Ownhammer or Fractal Audio offer IRs with plenty of character and just the right amount of mic positions.
Apart from that, MixIR2 doesn't really sound as good as other cab simulators, I did a comparison a while ago, check it here: http://bit.ly/1SPGsa7
You can download a pretty solid cab simulation plugin for free which is Ignite NadIR, and then load free IRs such as the "Catharsis" ones, which I dig a lot. Doesn't get better than free stuff :)
If you want a bit more, I definitely recommend CabLab as it's a glorious software/plugin, which can load both .wav files and Axe-Fx IR files, Misha's pack included.
Apart from that, MixIR2 doesn't really sound as good as other cab simulators, I did a comparison a while ago, check it here: http://bit.ly/1SPGsa7
You can download a pretty solid cab simulation plugin for free which is Ignite NadIR, and then load free IRs such as the "Catharsis" ones, which I dig a lot. Doesn't get better than free stuff :)
If you want a bit more, I definitely recommend CabLab as it's a glorious software/plugin, which can load both .wav files and Axe-Fx IR files, Misha's pack included.
Hey man, I want your opinion on what audio interface would you get for home recording purposes, if you were to record mostly DI tracks and vocal takes(SM7B). Best bang for the buck?
I'd recommend to not settle for cheap ones - you always get what you pay for, which in this case would mean crappy preamp quality. Save a bit more and look at the options below:
If you use Mac, good for you because there's two awesome options: Apogee Duet 2 or (even better if you can spend a bit more) Universal Audio Apollo Twin. If you use Windows, RME Babyface or Babyface Pro depending on your budget.
If you use Mac, good for you because there's two awesome options: Apogee Duet 2 or (even better if you can spend a bit more) Universal Audio Apollo Twin. If you use Windows, RME Babyface or Babyface Pro depending on your budget.
Liked by:
Aidan Pouncy
What can packs would you recommend for axe fx 2? The stock ones seems a little lacking especially high gain. Thanks man!
I definitely recommend Cab Pack #13 - Bulb. I might be biased cause it's a Mesa OS 4x12 (best cab ever imho) but I own every Cab Pack and this one for me is just the best sounding one, some of those IRs cut through the mix like buttah!
I also really like Ownhammer IRs, but I find Cab Packs easier to work with.
In between the factory cabs there are some I really like, but I still prefer Cab Pack #13 to those.
I also really like Ownhammer IRs, but I find Cab Packs easier to work with.
In between the factory cabs there are some I really like, but I still prefer Cab Pack #13 to those.
Liked by:
Eric g
Hi Francesco, As an AXE-fx user, any advice for recording w the unit without being locked in 48khz? I wanted to track both amped and DI at the same time, and on hand are a Roland Tricapture and a buddy's 2i4. Would you recommend finding a DI box (passive or active), or find another interface?
First, let's talk about something very important, which is plugging the Axe-Fx into an external interface.
People don't realize how much an external interface sucks the tone out of the Axe-Fx and it alters the sound in a way that makes it less clear and punchy, especially if it's a cheap interface with poor converters.
Do the test yourself, play the same riff by plugging the Axe into your interface, and then record it via Axe-Fx USB digitally. Level them up and hear for yourself!
I'm not saying it would sound bad, not at all, but I've done plenty of tests with Axe into cheap interfaces, Axe into higher quality interfaces and Axe just direct via USB. There is always some tone loss going the analog way into an interface, even if it's subtle, and recording directly via USB always sounded better to my ears.
I've even done a complex text in which my performance was recorded at the same time via USB, into an interface just with an analog cable and also into the same interface with a digital SPDIF cable. They all sounded different, and to my surprise there was a big difference in clarity between USB and SPDIF even if they're both digital outs and should theoretically sound identical.
So, in the end, I would recommend just recording directly via USB, which also permits you to use the integrated DI (it will appear in your DAW as "Input 3" when you select Axe-Fx as interface) so you can record both the dry and wet signal, to reamp it later.
Even if you're not recording with the Axe, I'd recommend to not plug it into an external interface cause it will remove a bit of feel and tone you have with Axe->monitors.
"But what if I want to use 44.1khz instead of 48khz?", in this case I still recommend to record at 48khz and then, when it's time to mix, convert your 48k recording into 44.1k with a good quality sample rate conversion algorithm, I use one made by Izotope. So basically track guitars at 48k and then convert them.
Keep also in mind if your purpose is to publish the recording/mix on Youtube or similar, 48khz is the audio standard within videos, not 44.1khz, so it would actually make sense to track AND mix at 48khz if video is the ultimate purpose.
But then why do I use an external interface and external DI box these days? lol :D
The DI signal the Axe-Fx provides is very good and clear and works perfectly when reamping it with the Axe-Fx digitally, but doesn't exactly translate very well if you want to use that DI signal with real amplifiers. Don't ask me why, it just doesn't react the same way. That's why I use a Countryman Type 10 DI box + a RME Fireface UFX interface to capture the DI signal, which in my opinion sounds better than the Axe-Fx DI.
Not only sounds great with real amplifiers, but also reamps very well with the Axe-Fx itself, regardless of the Axe-Fx integrated DI.
Still, you can definitely make the Axe-Fx DI work with real amps, check this, it was Axe-Fx DI reamped with a real EVH 5150III into Mesa 4x12. http://youtu.be/A1_iL2duz-I
People don't realize how much an external interface sucks the tone out of the Axe-Fx and it alters the sound in a way that makes it less clear and punchy, especially if it's a cheap interface with poor converters.
Do the test yourself, play the same riff by plugging the Axe into your interface, and then record it via Axe-Fx USB digitally. Level them up and hear for yourself!
I'm not saying it would sound bad, not at all, but I've done plenty of tests with Axe into cheap interfaces, Axe into higher quality interfaces and Axe just direct via USB. There is always some tone loss going the analog way into an interface, even if it's subtle, and recording directly via USB always sounded better to my ears.
I've even done a complex text in which my performance was recorded at the same time via USB, into an interface just with an analog cable and also into the same interface with a digital SPDIF cable. They all sounded different, and to my surprise there was a big difference in clarity between USB and SPDIF even if they're both digital outs and should theoretically sound identical.
So, in the end, I would recommend just recording directly via USB, which also permits you to use the integrated DI (it will appear in your DAW as "Input 3" when you select Axe-Fx as interface) so you can record both the dry and wet signal, to reamp it later.
Even if you're not recording with the Axe, I'd recommend to not plug it into an external interface cause it will remove a bit of feel and tone you have with Axe->monitors.
"But what if I want to use 44.1khz instead of 48khz?", in this case I still recommend to record at 48khz and then, when it's time to mix, convert your 48k recording into 44.1k with a good quality sample rate conversion algorithm, I use one made by Izotope. So basically track guitars at 48k and then convert them.
Keep also in mind if your purpose is to publish the recording/mix on Youtube or similar, 48khz is the audio standard within videos, not 44.1khz, so it would actually make sense to track AND mix at 48khz if video is the ultimate purpose.
But then why do I use an external interface and external DI box these days? lol :D
The DI signal the Axe-Fx provides is very good and clear and works perfectly when reamping it with the Axe-Fx digitally, but doesn't exactly translate very well if you want to use that DI signal with real amplifiers. Don't ask me why, it just doesn't react the same way. That's why I use a Countryman Type 10 DI box + a RME Fireface UFX interface to capture the DI signal, which in my opinion sounds better than the Axe-Fx DI.
Not only sounds great with real amplifiers, but also reamps very well with the Axe-Fx itself, regardless of the Axe-Fx integrated DI.
Still, you can definitely make the Axe-Fx DI work with real amps, check this, it was Axe-Fx DI reamped with a real EVH 5150III into Mesa 4x12. http://youtu.be/A1_iL2duz-I
Do you use/recommend any iso cabs for the guitar?
Nah, it just sounds weird and boxy to me, not a fan at all. I strongly recommend a serious loadbox/attenuator like Torpedo Reload or similar from Two Notes, so you can use your favourite amplifier at low volume with cab IRs and have the best of both worlds!
Hi fran :)Which in ear monitors do u use ? Could u please recommend 3 in ear monitors depending on low medium high budget?
I use Shure SE535 which are a high end product, isolate perfectly, sound clear and pristine. Until recently they were Shure's flagship model, but then they released the SE846 which should be even better.
Regarding your question, here's three options for various budgets:
Low budget: Shure SE215 - that's what pretty much everyone uses and they just work, that's what our live mixing engineer uses as well.
Mid budget: Shure SE425 - very good for guitarists especially, as they're quite mid-forward sounding.
High budget: Ultimate Ears Pro - just doesn't get better than these, which are custom molded to your ear's shape.
Hope that helps!
Regarding your question, here's three options for various budgets:
Low budget: Shure SE215 - that's what pretty much everyone uses and they just work, that's what our live mixing engineer uses as well.
Mid budget: Shure SE425 - very good for guitarists especially, as they're quite mid-forward sounding.
High budget: Ultimate Ears Pro - just doesn't get better than these, which are custom molded to your ear's shape.
Hope that helps!
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Luca Moqi
What's the best way to run an axe fx live apart from the power amp/cab method?
Live we just send the Axe-Fx OUT1 directly to the PA system, and at the same time use the Axe-Fx OUT2 into a wireless unit, which then sends signal to our in-ear monitors.
I wouldn't say it's the "best", but definitely the more effortless as we don't ever carry around poweramps/cabs.
I wouldn't say it's the "best", but definitely the more effortless as we don't ever carry around poweramps/cabs.
Hi Francesco, what's your approach when learning a new scale?
Learn the SOUND of a scale/mode, which doesn't mean read the fingering on a random tab and then play it, because that way you'll only be imprisoned by the fingering without actually listening to the mood and vibe that scale provides.
I know it sounds like a paradox, but the best way to learn a scale is to not play it as a scale (1-2-3-4-5-6-7) but actually noodle around those notes in a more random way. This way you'll be able to pick the mood of a scale and be able to use it in a more effective way.
In the end, always try to relate a certain scale to a mood you're aiming for, for example lydian -> mysterious, aeolian -> sad, phrygian -> dark, etc etc.
I know it sounds like a paradox, but the best way to learn a scale is to not play it as a scale (1-2-3-4-5-6-7) but actually noodle around those notes in a more random way. This way you'll be able to pick the mood of a scale and be able to use it in a more effective way.
In the end, always try to relate a certain scale to a mood you're aiming for, for example lydian -> mysterious, aeolian -> sad, phrygian -> dark, etc etc.
Liked by:
Luca Moqi
Do you have any advice for using atonality or dissonance without it getting too old too quick? I can still appreciate some Buckethead fingnubs or Josh Travis' guitar work, but any time I try to dabble with it, it feels like a third rate copy of either of those, or just like any other 'hardcore' band
Yea, definitely avoid the abused "chug chug widdle widdle" otherwise it sounds so generic. I personally use "outside" sounding scales to create tension within the overall mood, this can be done easily when the drummer is playing a fill, or at the end of a bar. Then, when the groove restarts or changes to another groove, you can release the tension (technically it's called resolving) into something less atonal or dissonant sounding.
Check at 0:48 here, I'm doing a whole-tone scale during the end of a certain part, and then resolve into something more open sounding when the new section kicks in.
http://youtu.be/L82Fd3RlnJ8
Check at 0:48 here, I'm doing a whole-tone scale during the end of a certain part, and then resolve into something more open sounding when the new section kicks in.
http://youtu.be/L82Fd3RlnJ8
Any experience with the Lithium pickups? If so, how are they compared to the stock Carvin pickups in that white singlecut you've been using?
They're AMAZINGGGG! I like the old Carvin pickups but these are just another level - very punchy pickups, big and ballsy but still tight, and the mids are huge.
They're a bit compressed but it's not that bad at all, also I find them so versatile that I find myself using position 3 and 4 just as much as the bridge pickup. Especially position 3 sounds like a super angry bass, kinda like "Physical Education" by AAL.
They're a bit compressed but it's not that bad at all, also I find them so versatile that I find myself using position 3 and 4 just as much as the bridge pickup. Especially position 3 sounds like a super angry bass, kinda like "Physical Education" by AAL.
Hey Francesco, had a couple quick questions on SuperiorDrummer: 1) Do you prefer to mix externally or use what they have to offer (eq's, filters, etc) 2) Which pack do you prefer for cymbals, and do you combine any packs? I do recall you said that you like the Avatar pack.
I definitely prefer to mix outside of SD with my plugins of choice - that being said the plugins within SD are not bad at all, and they do the job just fine.
Regarding cymbals, my picks are Avatar and Made Of Metal as I find them versatile and very "musical" sounding. Metal Machine and Metal Foundry have an excellent cymbal selection but I'm not recommending them because I've heard those libraries in a thousand releases and it starts to sound like everything else - check Paul Wardingham's new single that just came out today, I can hear Metal Machine a mile away (song is badass though).
I also reeeeally like Music City/Roots for more "mellow sounding" cymbal selection, those libraries are incredibly good.
Yes I do combine SD packs, not too much but I do it for sure.
Regarding cymbals, my picks are Avatar and Made Of Metal as I find them versatile and very "musical" sounding. Metal Machine and Metal Foundry have an excellent cymbal selection but I'm not recommending them because I've heard those libraries in a thousand releases and it starts to sound like everything else - check Paul Wardingham's new single that just came out today, I can hear Metal Machine a mile away (song is badass though).
I also reeeeally like Music City/Roots for more "mellow sounding" cymbal selection, those libraries are incredibly good.
Yes I do combine SD packs, not too much but I do it for sure.
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