Anarchangel recording EP thread

[Phox]

"Anarchangel - Fuggin Pohked Kehd"?

[Nephew Twiddleton]

Someone jokingly suggested that we name the album Porked and have two pigs fucking as the cover.

[Phox]

Someone jokingly suggested that we name the album Porked and have two pigs fucking as the cover.

I'm just sayin' if you're going to spell phonetically, spell all the words that way. 

[Nephew Twiddleton]

Someone jokingly suggested that we name the album Porked and have two pigs fucking as the cover.

I'm just sayin' if you're going to spell phonetically, spell all the words that way. 

Ah. Pat did that one. 

[Phox]

Someone jokingly suggested that we name the album Porked and have two pigs fucking as the cover.

I'm just sayin' if you're going to spell phonetically, spell all the words that way. 

Ah. Pat did that one. 

Well, beat him about the face and neck.

[Nephew Twiddleton]

Anne marie is doing her keys this weekend. Also- http://mideastclub.com/upstairs.html  8/24/12

[Nephew Twiddleton]

While this wont be the first time weve played the mideast upstairs it will be our first time booking a show at a venue that size rather than being invited on the bill. So if you live in the greater boston area or relatively nearby buy some tickets! We want to fill that place up as much as possible.

[LMNO]

000 - Yes. It literally is more art than skill. If you get a narrow EQ that identifies a single frequency that's muddling the mix, you can put a downward expander on it that will duck just that bit when it exceeds a certain dB.

There's a reason that mastering is often the most expensive part of a recording.

[AFK]

The cops pulled me over once when my frequency exceeded my envelope.

[Nephew Twiddleton]

or more likely wah wah wah.

[AFK]

Shuddap Kirk Hammett!   

[Triple Zero]

000 - Yes. It literally is more art than skill. If you get a narrow EQ that identifies a single frequency that's muddling the mix, you can put a downward expander on it that will duck just that bit when it exceeds a certain dB.

There's a reason that mastering is often the most expensive part of a recording.

I've been wrestling through these articles last week:

http://www.digido.com/articles-demos.html

Yeah I just started from the top

There's a bit more skill in it than I had expected, but a lot of it I'm not really sure how much of their tricks are audiophile paranoia for potential theoretical quality loss. Most of it seems to boil down to: Don't compress too much, don't make your stuff too loud, record more tracks and mic positions to keep your options open, don't do any more AD/DA conversions than strictly necessary.

Also a lot of advice seems to be oriented at what the mixing/recording person should do and not do, before passing it on to the mastering studio, and not so much about what the mastering studio actually does, and how to do it.

A lot of it is also not really practically useful to me, the way I like to play around with sound and mixes, and I don't really plan to record/mix any kind of live/non-electronic instruments any time soon. Still it's interesting as fuck so I will continue reading

Since you DO occasionally do that kind of recording/mixing, I can highly recommend browsing those articles. Buried between the extreme audiophile quality paranoia tricks are quite a few useful gems about mic placement, dynamics and really really subtle effects that nobody notices but possibly make all the difference. And apparently dipping a track through analog magnetic tapes gives audio magic compression warmth.

[Nephew Twiddleton]

Shuddap Kirk Hammett!   

He does like that wah pedal. But you mentioned envelope, so...

[Nephew Twiddleton]

000 - Yes. It literally is more art than skill. If you get a narrow EQ that identifies a single frequency that's muddling the mix, you can put a downward expander on it that will duck just that bit when it exceeds a certain dB.

There's a reason that mastering is often the most expensive part of a recording.

I've been wrestling through these articles last week:

http://www.digido.com/articles-demos.html

Yeah I just started from the top

There's a bit more skill in it than I had expected, but a lot of it I'm not really sure how much of their tricks are audiophile paranoia for potential theoretical quality loss. Most of it seems to boil down to: Don't compress too much, don't make your stuff too loud, record more tracks and mic positions to keep your options open, don't do any more AD/DA conversions than strictly necessary.

Also a lot of advice seems to be oriented at what the mixing/recording person should do and not do, before passing it on to the mastering studio, and not so much about what the mastering studio actually does, and how to do it.

A lot of it is also not really practically useful to me, the way I like to play around with sound and mixes, and I don't really plan to record/mix any kind of live/non-electronic instruments any time soon. Still it's interesting as fuck so I will continue reading

Since you DO occasionally do that kind of recording/mixing, I can highly recommend browsing those articles. Buried between the extreme audiophile quality paranoia tricks are quite a few useful gems about mic placement, dynamics and really really subtle effects that nobody notices but possibly make all the difference. And apparently dipping a track through analog magnetic tapes gives audio magic compression warmth.

Even though LMNO explained it, I still honestly don't really get what mastering does that mixing doesn't.

As mediocre as my last band was, the sound quality on our final album was pretty good, and I don't really see how it could have been improved. It was with the same guy that did LMNO's most recent CD (quite the character, btw), and I don't know if he actually mastered anything or if it was just mixing. But we were happy with the outcome. I still listen to that album from time to time, mainly because it amuses me how my tone sounds on it, and sometimes I miss the riffs.

[LMNO]

Richard mixes all the tracks into left and right channels.

Mastering applies effects to the 2-mix.

It's a different kind of mixing, one more attuned to how to treat the entire mix, rather than individual tracks.

For example, if you mixed the guitar too high, there isn't much mastering can do however, if there's a resonant pitch that's sweeping through the mix (for the sake of example, let's say A440-- though it's usually ~90hZ or upwards of ~18KhZ) the mastering guy will carefully identify the offending tone and soften it to let the other tones come through. It's mixing, but a lot more subtle. You need to have a really good ear. I once watched a guy in a blind experiment discern between a single decibel difference. For those that don't know, decibels are logrythmic, which means a 1dB difference is negligible.