Угол металлиста :) (2 онлайн)
- Автор темы digisystem
- Дата начала
Вышел новый клип каркасса... слухните ребята. Как по мне в плане звука гитар это какой то позор для каркасса... Кто со мной не согласен?) Вы слышите этот звук? Вот прям что-то пластмассовое или хз... но явно не металл...
зы. в плане самого музла ничо так вроде... не торкнуло конечно, но и не плевался))
зы. в плане самого музла ничо так вроде... не торкнуло конечно, но и не плевался))
Конечно слышим. Звук такой, как звучит гитара, если ее воткнуть прямо в хайгейновый усилок и снять микрофоном без всяких особых извращений. Никаких вот этих "гитар, звучащих как синтюковые пэды", которые нынче у всех. Как раз никакой пластмассы, просто так не принято в современном продакшне.
А мне вообще показалось что гитары наруливались на компе...))) (софтовые я имею в виду) и никаких микрофонов...
Последнее редактирование:
Да обычные барабаны для современного продакшна, с семплами и прочей шляпой. Понятное дело, что в Heartwork этим и не пахло, там тру-сыряк в барабанах.
Лично у меня с живыми усилками только такие гитары и получаются. Я не умею делать "гитароклавиши" )))))))))
Почти уверен, что в те времена и особенно в дэт-метале этим ещё как пахло. Триггеры, все дела. Но саунд был не как сейчас, конечно же.
Вы давно Heartwork слушали? Там же слышно, как тон щелчка на бочке меняется в зависимости от того, по какой тарелке фигачат, какие семплы, о чем Вы?
Верно , не было тру барабанов там ))
есть подробное описание записи альбома
The album was mixed in studio 1. The SSL I just find easier to work on, since I’m habituated to mixing on them, and that one had the first 48 channel equalizers replaced with ones of my own design. plenty of outboard FX… lots more than we’d need for the project.
Colin had vacillated a little on the kick drums and whether to use triggers, but by mix time, Dave Buchanan had used an audio-to-MIDI trigger to generate a MIDI event for each kick drum. There were a couple too may false triggers to be able to run triggers live in the mix without false-triggering from spillage, or missing the occasional light stroke, so Dave made a set of Cubase projects -one for each tune- and had manually edited out the false-triggers, and had punched in any missed beats with a higher gain setting. –Over the course of a few evenings, he’d made sure that Colin had a Cubase file for every tune which would afford him the option of easily auditioning triggered kicks if he felt that they would be required.
In the end, triggers were used, with samples coming from an Akai S1100. There were a bunch of options for the kick sound, but in the end we used one with not much ‘boom in it, since the original kicks on tape were pretty ‘strong’ and ‘deep’. –The trigger was only really doing the job of ‘sharpening’ the top end of the sound; the rest was Ken’s drumkit. –I remember that Dave also made a snare trigger track… just because he could, and it would be much easier to say “already done” instead of “okay, that’ll take a while” if Colin ever asked for one!)… but that was never used. The original snare used varies with the tune, but there two Ludwigs I think, one of which was a black beauty, and another snare used was a Noble and Cooley.
Things which I remember contributing to the mix… the reverse reverb ‘sweep’ in ‘Embodiment’, and then suggesting the (real!) tape phasing on top of it. There were a couple of other places where we spliced-in tape phasing, and every time you hear it, it’s real. We used the Studer A810s for the phasing, because I’d wired remote controlled multi-turn locking varispeed pots into the center section of the console, along with the transport command buttons, and a varispeed in/out switch. Any time you hear phasing on the album, it was done after the fact and spliced in.
Rst7
Почитай , пруф , семплы использовались с акая s1100
есть подробное описание записи альбома
The album was mixed in studio 1. The SSL I just find easier to work on, since I’m habituated to mixing on them, and that one had the first 48 channel equalizers replaced with ones of my own design. plenty of outboard FX… lots more than we’d need for the project.
Colin had vacillated a little on the kick drums and whether to use triggers, but by mix time, Dave Buchanan had used an audio-to-MIDI trigger to generate a MIDI event for each kick drum. There were a couple too may false triggers to be able to run triggers live in the mix without false-triggering from spillage, or missing the occasional light stroke, so Dave made a set of Cubase projects -one for each tune- and had manually edited out the false-triggers, and had punched in any missed beats with a higher gain setting. –Over the course of a few evenings, he’d made sure that Colin had a Cubase file for every tune which would afford him the option of easily auditioning triggered kicks if he felt that they would be required.
In the end, triggers were used, with samples coming from an Akai S1100. There were a bunch of options for the kick sound, but in the end we used one with not much ‘boom in it, since the original kicks on tape were pretty ‘strong’ and ‘deep’. –The trigger was only really doing the job of ‘sharpening’ the top end of the sound; the rest was Ken’s drumkit. –I remember that Dave also made a snare trigger track… just because he could, and it would be much easier to say “already done” instead of “okay, that’ll take a while” if Colin ever asked for one!)… but that was never used. The original snare used varies with the tune, but there two Ludwigs I think, one of which was a black beauty, and another snare used was a Noble and Cooley.
Things which I remember contributing to the mix… the reverse reverb ‘sweep’ in ‘Embodiment’, and then suggesting the (real!) tape phasing on top of it. There were a couple of other places where we spliced-in tape phasing, and every time you hear it, it’s real. We used the Studer A810s for the phasing, because I’d wired remote controlled multi-turn locking varispeed pots into the center section of the console, along with the transport command buttons, and a varispeed in/out switch. Any time you hear phasing on the album, it was done after the fact and spliced in.
Rst7
Почитай , пруф , семплы использовались с акая s1100
Ну мне вроде норм. Видимо, уважаемые решили, что им хочется такие барабаны. Ну художникам виднее
Carcass HEartwork: the recording process by Keith andrews
Taken from this forum: http://recforums.prosoundweb.com/index.php/mv/msg/26148/0/16/0/ Part 1: Carcass Revisited. In the years after first...
www.ultimatemetal.com
Статья Кита Эндрюса , который вместе с Колином Ричардсоном месили heartwork )
Мясище
ну , там еще томми андерсон играл )) охрененный барабанщик ) на троечке такие грувы выдавал ))Щас играет на гитаре в Hellacopters и Lucifer ...зачем то )
Та в общем ничего в этом постыдного нет, главное - оно слушается нормальными живыми барабанами.
livandos
Ух ты , напалмов опять в индастриел развернуло)
у меня 97- 99 - любимые альбомы )
нада послушать срочна)
Ух ты , напалмов опять в индастриел развернуло)
у меня 97- 99 - любимые альбомы )
нада послушать срочна)
Вообще напалмы одна из самых трушных групп в митоле )) вот им вообще всегда настолько на тренды было побоку)..
увага ))
увага ))