Posts Tagged ‘Black Metal’

Well, I’ve noticed this blog is packed with metal releases, so why not adding another one?
I do work on various other genres, I swear, it’s just that more and more metal bands trust what I do and contact me to produce/mix their work.

Anyway…What do we have here? A unique blend of black metal with heavy metal elements from this one-man band called Deisidaemonia.

Behind all this hides a great musician, Mr. Spathas.
Does the name ring a bell?
Exactly!
The genes have something to do with this, as this is one of the finest examples of cool-sounding extreme music with TONS of musicality in it. Like Father, Like Son.

Let’s get to the technical stuff. All instruments were recorded from scratch, except from the bass, which was brought to me as a DI signal. Guitar was a Gibson flying-V, while a different guitar was used for clean and leads, can’t really remember which one.
Vocals were really interesting to record: Initially I set-up my nice AKG condenser mic, carefully calculating the height, the distance, creating a nice headphone mix for the singer, getting a good balance….
Great sound…but this music demands energy, and this set-up wouldn’t work for the performance I had in mind.. So after a few takes, there was a change of plans: A single hand-held Shure SM57, CRANKED monitors in the room and a f@ck-headphones approach. This setup worked WONDERS. As a result, most of the vocals are continuous takes without any editing (well, maybe only the audio bleeding from the cranked monitors!)

Many details were added to complete the mix, acoustic guitars, synths, gang vocals and various audio samples.

Mixing wise, black metal is a genre that demands character. So, treble-sounding guitars, big and distorted bass sound, reverb on almost every element and sample replacement, nothing out of the ordinary here. This is what I call a “carefully unpolished” mix. Tons of experimentation as well, weird reamping techniques based on the room and not-your-ordinary-EQ on the ENGL amp.

Really proud for the final outcome. I believe I spent more time asking about Mr. Spathas Sr than actually recording, but I could really listen to Deisidaemonia all day. Good times!

Recorded, Mixed and Mastered during 2015.

 

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It’s been a while since I last updated this blog! Here is an upcoming black metal band from Athens that visited SoundWay Studios to record 2 songs for a split-EP. Never judge a book by its cover they say and this is especially true for these guys: Really polite people with a clear vision on their music behind the corpsepaint. (sorry if I ruin your image guys!)

A whole lot of experimentation took place, with many layers of bendir and -wait for it- a real theremin! Real drums on this one as well, recorded and heavily miced by me to capture the ambience of the performance. Guitars were reamped through a Peavey 6505+ amp and a Marshall all-tube head, both available at SoundWay studios. A real bass amp was also used for the bass tone, combined with the DI signal. I also tracked the vocals capturing both a dry signal (straight from a condenser mic) and a wet signal (straight from a TC-Helicon Voice Live unit) that both ended up in the final mix.

Some minor drum replacement took place to add more attack and a whole lot of reverb for the “black metal” sound on…well…basically everything! Mixing-wise I decided to limit myself by only using stock equalizers (mainly graphic ones) and compressors from Sonar, as I wanted fewer controls for simplicity.

Some minor pops and clicks on the audio due to the YouTube uploader, but you can get the overall picture (gonna update this post with a proper version once it is available).

Recorded and mixed during February 2015.

First time working with Impenetrable Darkness, a black metal band from Athens, for their drum playthrough of “Dark Harmonies And Structures Of Liturgy”. This is one of the first projects to come out from SoundWay Studios (I have been working with the guys at SoundWay for the past year or so)

The drummer playing on this one is one of the tightest drummers I have ever tracked and the whole performance is literally one take with NO editing at all! (yes, that’s right, one continuous take of blastbeats and double bass drumming without any mistake). I managed to record the drumset really well, based mainly on the spot mics. Mixing-wise, I mixed the drums to sound as close as possible to the original song, as that was what the guys wanted. If I had the freedom, I would certainly choose a slightly different approach in order to compliment the drum playing even more, but there’s no problem as long as everyone is happy with the ending result, myself included. What is really nice though, is the lack of any replacement: everything is 100% natural. Mastering is literally brick-walled in order to reach commercial volume.

Recorded, Mixed and Mastered during December 2014.