Miehen Kivinen Tie

Miehen Kivinen Tie
Dynamics are for pussies. ;)

This is my first release with new DAW and plugin that I bought. I got Reaper for DAW and Blue Cat Audio's Destructor mainly for guitar and bass use... But I noticed that it has presets for so much more, so I used it. So basically this is kind of a test run with new equipment. :)

My new workspace ^^

At first I wasn't sure how I would proceed with this song, so I just went with trial and error. As I was testing I decided to just blast the shit out of the mix, so I did.
The drums are the most prominent example of this approach. I played only with the presets here because they are extremely good, there is plenty and well... I haven't gone in-depth with the plugin yet.

For bassdrum I used "Bassdrum Oomph"-preset which turned it kinda like it's from some house song or such... Not so metal. :D
But it's great for this mix because it's easy to pinpoint and it's so out of place here... To me it's so wrong it's great.
I put the same preset on the toms just to make them go BOOM!

Snare and cymbals got 2 versions of "Smiley Exciter"-preset which, as you might guess, is a V-shape EQ curve. It worked nicely as it took both aspects of the drumkit out from the frequency spectrum where bassdrum and toms are, despite the bass boost.

After all that destruction, I made a Drums Master-track where I applied Vladislav Goncharov's Limiter no6 to compress and limit the drums. I compressed the drums with 3:1 ratio, long attack and short release. I also engaged the high-frequency limiter to keep the cymbals in place.

As a pre-caution I also used the peak limiter in multiband mode and the protection module as a final "master limiter" for the drums.

For guitars I used the "Convolution Amp/Cab modeler" provided with Reaper. Left guitar got Fender Deluxe amp with Marshall Cab and right guitar got JCM 800 with the same cab as the left track. After that I looked at the frequency spectrum of the guitars and as a result applied EQ to them. What happened as a result is a bit wide notch around 100Hz to remove the boom from the guitars.

For bass I used the BC Destructor's "Aluminium man" preset that gives bass the grit you hear. As with guitars I checked the spectrum and as a result I basically cut everything around 50Hz, but the notch grows exponentially, so the notch affects degradingly all the way to 500Hz.

After all that it was time for the Master channel. There I also used Destructor and found a preset called "Oomph mix". It basically boosts the whole spectrum, balance leaning towards bass. Afterwards I just applied Limiter No6 again to limit the whole thing to -0.5dB. Destructor has a built-in limiter, but there's no control to it, so I just wanted to make sure the red light doesn't flash, that's all.

The result is something that I haven't done before, but I'm satisfied with it and had a lot of fun fooling around while mixing this. Watch out for your eardrums and enjoy!

Slow In Motion: Stories from a deep place

Slow In Motion - Stories from a deep place

The second installment from Slow In Motion is finished at last! I'm going to talk about the last song of the package, since it's the one that took most work mixingwise and because every individual element explained here is the same in every song where applicable. So, let's get started.

I had a clear vision of what I want from the sound of the second package; fuzz! A LOT of FUZZ! And I got what I wanted.

As you can see, the last song took some doing, since there were many elements to take into consideration.


First of all, to achieve the FUZZ I was after, I went for the guitars. The bread and butter of the resulting sound is Distorque Audio's Face Bender. I was so happy to see that it actually has 2 stompbox effects modelled, so naturally I put one to left guitar (fuzzface) and the other (Tone Bender) to right guitar. I then tweaked the pedals settings individually to go together. The amp sim I used was just some quite random amp I have. To that I didn't do any individual tweaks, just a working base tone to build upon. The result was even better I had hoped, but to keep the guitars in check I put GVST's Multiband Compressor to the group track and squashed bass, middle, and treble frequencies.


The bass (as usual for me) turned out to be a hard one to get sounding good. I've been playing with TSE Audio's BOD for some time before I started working on the sound for this package and decided to use it since every other method didn't seem to work at all. I'm not sure that I can say I'm happy with the result, but it works in this context, so why not? I worked fairly long with the BOD being the one bringing the distortion to the sound, but at some point I decided to turn it around, making BOD more like a booster and eq.
EQ on the bass is well... Bass. I didn't want any clang and sparkle to the sound, since it just sounded weird with the guitars (tried it at one point). After all I put multiband compressor in there, let all the bass frequencies through with some compression (as you can see) and cut the mids somewhat and almost all of the treble. So all-in-all the bass is like a layer of distortion here. And you can hear it clearly at some points throughout the package.

Drums were fairly simple to do because I knew exactly what I wanted and how to achieve it. I just put the drums through Shattered Glass Audio's Ace. Individual settings for different parts of the drums and that was it. The result is very basement-like, but I really like what that amp sim does to that particular set of samples. After that I just put a compressor on the drums group track in Cubase and tweaked it to perfection.


I had some idea of what to do with the piano. There were 2 things on my mind; need to get some life and space to the sound and put it a bit to the background. Well, succeeded on the first and ultimately "failed" on the second. To have some space and life to the sound I used Soft Amp's Flextron DC14. Once again a guitar amp simulation, but who cares?
Most pleasing sound I achieved with the 2000's model paired with 1x12 cab, since I didn't want it to sound "big and bassy" with the 4x12. The life to the sound came through that with heavy middle and treble boost and the space to the sound came with the built-in reverb and ambiance of the cabinet mic. After that I just put a compressor on it and tweaked it a little. The compressor doesn't actually compress but brings it's own twist to the sound. The same thing was actually with the drums, since I used the same plugin called Max Synth's DSP-3. I really liked how it fitted to the soundscape and at first the piano was in the background (in the 9th song, since it was the first to have it) and I thought it was fine. But coming to the last song with all the other elements (mainly the strings) I noticed that guitars pretty much buried it in combination with the strings, so something had to be done. Solution was fortunately simple as to just bring up the level of the piano quite a bit. I had to remix the 9th song because of the changes to the piano and at first it felt like the piano was too loud. But I got over it so quick that I decided to leave it like it is. So the piano sure as hell isn't in the background anymore.


The first "new" thing to work on this song was the violin, which also does something that I haven't had in these songs before; playing a solo. I didn't want to assign one of the guitars to the solo because I wanted it to sound constant, so I had to come up with something else. I remembered that I have many times used a certain violin samples when I've needed one, so I decided to go with that. I've tweaked the violin so that one (the original) is really short on sustain and the other has a buttload of sustain. Because of that their attack (and thus sound) is a bit different from each other. I used the long sustain in the longer notes and the short one in the faster runs.

The solo came to be as I just felt that this song could really use one, so I played around for some time before coming up with the pattern. It's simple, but that's how my solos mostly are as I never see myself as a solo player, so I'm not so good at composing them. Also I have much limitations when it comes to solos since I don't know many scales or anything like that. The solo part is kind of an combination of something older (the rhythm part) and newer (being the solo itself). As I was playing around with the melodyline, I got the idea of combining it with that rhythm. That opened up some possibilities to me since the whole part goes mostly on triplets. I really used that to my advantage on the drums and that's why they sound the way they do in there.

I had the same idea with the violin as I did with the piano; life and space. But this time I didn't use an amplifier simulation. Instead I got the life from Digilogue's ancient Blueline Chorus and the space came from same serie's reverb. I tweaked them to really have an impact on the sound and then leveled it with some compression. But then I had to brought it up aswell since it is after all the one to play the solo and shine in the spotlight.


Last but not least was the strings. I first had them only in the solo part and I really really liked it. But then I thought that it would sound more epic and be more constant if they would be layered all over the song. So I did that and I heard it was good. The strings were fairly simple to get to fit into the soundscape as I only used the DSP-3 to give it some colour and then just searched for the right level for them to be present but not dominating. All-in-all I think I succeeded pretty well. The result is more like an epic melodic metal song than a sludge song, but it fits for the theme of the song a lot better that way and really stands out as a closer to the package.

So, there you have it, long story about a long musical journey. Enjoy!

Black Metal Army of the Seven Nations

Black Metal Army of the Seven Nations

This got started sometime in fall last year, can't remember exactly when. I had the base of the sound done beforehand because I was working on another black metal song.
The initial sound isn't so kvlt, but I liked it, so I worked some (black) magic in Podium.

The sound you hear is the result of shitloads of VSTs. There's first Grease Tube on the guitars and bass. Guitars are "tight and compressed" as the settings say in the plugin. The bass is complete opposite, being "open and crisp" with "far" mic placement that gives it depth and even more bass.
Drums are layered with my presets in 50rcery, which I've come to conclusion, is a compressive multiband EQ. :D
Then in Podium I put some more compression on the drums and EQ on the bassdrum. For the EQ I Boosted 60Hz, 500Hz and 2kHz.
But the real black magic came from the 50rcery in the master channel with most boost on low-mids and treble.

Mostly this is just me trying to remember what I did as most of the parts of the song were already made last year. Today I mostly just made some re-arranging and re-working the parts already done. The only new thing from scratch was the solo. At first I had no idea what to do with it, but after a while I got the idea of using bass on it. But the bass I used on the song already didn't work on that, so I got the other sample set I usually use in my songs.
Then it was just decision of what to do with the sound. But that wasn't a big problem, because the answer to life and everything in the universe if FUZZ! I just put Face Bender on it, tweaked it to perfection and went with it. At first I thought to follow the original solo, but then again since I don't do it with the riffs either I just intrepreted it. It sounded wicked in the tracker already and propably not in a good way, but I wanted to make it just outrageous so I put some phaser and reverb on it in Podium and the rest is history. :D

I finished the song after the solo because I felt like it had nothing more to offer. So here you go, a quick and dirty explanation of a quick and dirty raped song.

Slow In Motion: Things yet to come.

02. Pressure of Becoming

I'm going to write only one post regarding this forthcomihg "album" because the sound is initially the same on every song.

I've learned that you can get interesting sounds when you put already amped guitars and bass through an VST guitar or bass amp. And in this case (as in most of my mixing work lately) I put the drums through an guitar amp simulation aswell.

Guitars went through an AXP Flextron clean channel with the '90s mode. When I took the "bright"-setting off I got that mud'n'dirt to the sound. After that I tweaked the EQ in such a way that the curve is almost flat (as seen in the following picture).

The EQ on the amp is almost the one I always use; bass halfway and mids full. The only difference here is the highs that I reduced a lot to cut the hiss'n'sparkle. Only real difference between the channels is the tube position which is Post-EQ for one and Pre-EQ for the other.

Bass went through Shattered Glass Audio's Ace which is a Fender Tweed rendition. It gave a nice growl to the bass; it breaks nicely to distortion. There's nothing much to tell here; I just played with it until I was satisfied with the result.

I put drums through AXP's FM25 which is a rendition of Fender's Frontman 25. Not the most aftersought amplifier, but excellent for this purpose. Everything went through the clean channel with individual tweaks to EQ and cabinet.
Bassdrum and toms got 1x10 cab with hard mid-scoop EQ; 10-0-10. Ten seemed to be the key for that. :)
Snare was just flat-out full blast EQ with 2x12 cab.
Hats got some reverb (half-way), not that it can be heard. :P Cab was 1x10 with full mids and treble. Bass I cut completely out.

So that was the initial sound in Modplug Tracker. It clipped somewhat heavily, but since individual tracks did not, I went with it. After I got that done I ported the whole thing to Cubase for final tweaking.

In Cubase I didn't do too much. Since the guitars have somewhat different sound (left being much more muddy) I boosted the level of left guitar 3dB compared to the right one. Bass got some compression to make it even and constant. The only other major thing before master channel was the snare which sounded quite thin on it's own. So I put some EQ with low-mid boost and some sparkle at 2kHz. And after that some compression to bring it up in the mix.

Master channel included a compressor and limiter to push the mix and prevent it from clipping. Dynamically this is a murder, but that's what I was going for; a dirty wall of sound.
I got what I was after, I hope you enjoy.

Death to Terrorism

Death to Terrorism



At last I have something to write again! I have another song finished aswell, have to consult the archives before I can release and write about it though. It's been finished for some time now, so I need and try to remember how I mixed that one. But that's not this song, so let's get to the point here.

This was originally just a test of a plugin type I hadn't used before; a gate.
I had experimented with it in 2 other songs-in-the-works, but this one was the first to be complete.

At first I had the gate on drums as well as on bass. On drums it was so tight it killed all sustain and at first I was happy, since it was going to be a fast song right from the start. But then I noticed that the bassdrum had some kickback because of the gate. It wasn't audible in the fast parts and barely in the slow ones, but it still bothered me a lot. So I opened up the gate somewhat so it left some sustain to the drums and also returned some of the original sound of the samples. And I saw it was good.

The gate on bass made it distorted in a very sweet way (for my ears), sounding like a bit crusher. I liked the way it sounded and was very happy... For a while. It turned out that the gate didn't work in the long run; the sound became really odd after some time into the song. So ultimately I had to think something else for the bass.

I had an idea for the guitar after reqular EQ proved not to work as I wanted in this situation. I got the Grease Tube VST plugin and tweaked the guitar sound with that. And it made wonders for it, making the guitar track extremely dirty.

So the next idea was to put the same plugin on the bass track. And it proved to give a really decent result. I have to admit I'm still sad that the gate didn't work because with the guitar track it would've propably been a killer sound. But all-in-all this was a really good alternative since the plugin gave some nice distortion to the bass.

After I got all done in MPT I exported the tracks to Podium for the final mix. And that proved to be a pain in the ass... A big one too.
I had already done some mixes with the gated bass, so at this point it was just tweaking the levels, but that turned out to be quite a job to do. All-in-all I had to mix this shit almost 20 times before it was finished. The mixing was a bigger job than the composing or coming up with the sounds. :P

In Podium I added EQ on the bassdrum, snare and cymbals, but this time I boosted only ranges from around 1kHz to 4.5kHz. As follows:
Bassdrum: 6dB boost at 2kHz.
Snare: 3dB boost at 1,25kHz.
Cymbals: 4.5dB boost at 3kHz and 3dB boost at 4.5kHz.

So in that matter too this was a different way for me to do things. I wanted to make a clear dirty mix, so that's why I didn't make the drums so snappy and crispy. It wouldn't have fit for the atmosphere of the song.

I had really hard time with the drums on this one, they were being buried all the time. So after like 15th or 16th mix it was clear to me that I need to bring the guitar and bass down. So I made a 3dB reduction to them and got the drums' levels up a bit in the process. Now it sounded really neat on my AKG K-44 headphones and I was so happy.
But then I listened it through my KRK Rockit 5's and it became clear that the snare is barely audible at times. :/
Some listens more and I realized that I can't do too much to it or it becomes too dominant on the other parts, so I left it as it was.

This time I used compression on the master track along with the usual limiter. That's how I mixed all the mixes before the last one. I noticed that the compression cut some of the low end, so I exported 3 files from Podium: drums, bass and guitar. Drums I exported the way I had mixed the song: with compression and limiter. Bass and guitar got out without compression, although they both are extremely compressed already because of the Grease Tube.

After that I imported those three tracks back to Podium, applied the limiter to master track and made some reduction in levels and that was it. Finally.

So there's little problems with the snare, but I'm still very happy the way this turned out to sound. And composing-wise I'm also satisfied, I think there's some nice things going on, especially with the drums. Also something bit different at times.

Enjoy this little piece of heaven. ;)

Obscure Abomination

Obscure Abomination

A trio-based death metal this time (as there is only one set of guitarsamples). Sort of repetitive as DM is not my "primary" style, not too good at composing it. Still every now and then I just get the feel to do something like that. But to the point, shall we?

Ok, so first I made a good sounding rough mix in Modplug Tracker that is eventually what you hear in the final mix. There was not much that needed to be done, mostly level adjustments. Compression and eq on bass and that was it. The mix in MPT hit the red almost all the time, but individual tracks were ok, so it was a good foundation to work with in Podium.

So, guitars are raw, there is no eq or anything on them most of the time. And by most of the time I mean that there is the part at around 1:20, but we'll get to that later.
The main sound of the guitars are the raw sound of the samples. And to this song it works just fine, atleast to my ears. Only thing was that the guitar track was doubled to compensate the boost of bass and drums.

Bass has my "dry curve"-eq, but still it comes out in the mix quite nicely, beefing the sound up. The guitar itself has quite bassy sound, but I think these work together nicely. They don't eat eachother out.

I started from scratch with the drums. I had a new plugin to work with, 50rcery, a multiband compressor that doesn't seem to be a compressor afterall. Oh well, anyways, as it works like one, I used it like one.
I made 2 presets; one for the drums and one for the cymbals. I first did what I've learned to do a while ago; long attack and short releases. After that I focused on the threshold and with it I pretty much killed the sustain of the drums. There was only going to be "short and aggressive" drums, and I think I got it right.


Oh yeah, and then there is the part at 1:20. For that I had to double every track. And thst's what you see in Podium; the little trio-based dm piece took 24 tracks! :P

That specific part's sound was inspired by Torture Killer song off of the album 'Swarm!'. Can't remember what song though.
Anyway, I wanted to make my version of that idea, so I doubled the tracks and worked a sound of it's own to that part. That meant mostly eq with high-end boost and rough bass-cut.
Again two presets were made from scratch; one for the guitar and bass and the other for drums.

The preset for stringed instruments got boost from 10kHz to 19kHz and everything else cut. That pretty much kills the bass in this, but then again it was somewhat the point, as I wanted a really thin sound.
The drums were pretty much the same, only that the boost was from 1kHz to 19kHz and everything else got cut.

After that I exported everything to Podium, set the levels and started to think what to do with that "special part".
It was dry alright, but as my original intention for the sound was to put it through a speaker emulation of some 2x2" cabinet and I couldn't do it, I had to come up with something else to push it back a little to make it sound even more tiny and lofi.
So, the solution was to level it down a little more than the "main sound" and add some reverb. I think I did the trick as good as it could be done with the set of tools I have.

The final thing was to put limiter on the master track with a -0.5dB ceiling (I started to use that a while back) and boost up the overall volume so that it clips only a little every now and then. Though it seemed to clip a bit more than I expected when I opened the mixdown in the sound editor, but I decided to leave it at that.

So, here it is; a short blast of high-speed death for your ears... You're welcome. ;)

UPDATE: Ok, so I got some feedback about the ride-cymbal. I made changes to it based on the feedback and tweaked the volume levels.
As I was on it, I reworked one part of the song a little, and well, now I'm more satisfied with it.

I had to export the tracks again to Podium, so I thought to do a little re-mixing to it as well. I put some mild eq-boost on the bassdrum and snare and after that I tweaked the levels a bit. Bassdrum got a little cut, snare was kept as-is and the guitars and bass got boosted about 3dB.

The boost from the limiter plugin was removed and it's character shaped a little.

So, little tweaking here and there. I think it turned out ok. :)

Cnoc An Tursa - Bannockburn

Cnoc An Tursa - Bannockburn

This song has been most challenging to mix so far. Part of being that it's black metal, the other that it had 22 tracks.
So, I once again retrieved some raw tracks from Mike Senior's multitrack resource page.

And because of that my "workspace" looked a lot different than usual:

No tracking, no Modplug Tracker, nothing too "conventional" for me. Haven't worked too much straight in the DAW doing the mixing. Oh well.

6 tracks for the guitars turned out to be quite challenging. They almost buried everything else and also each other... And well... There's so much going on all-in-all that at some points some burying occurs. Atleast to my ears.
All guitar tracks have individual sounds, 3 tracks being panned left and 3 panned right. I used my previously created presets on the rhythm guitar tracks and made sound for the lead tracks from scratch.

The rhythm tracks are modern high-gain, while the lead tracks got more a vintage british high-gain with chorus and delay.
The first rhythm track has more open sound, while still being crisp and extremely aggressive. This can best be heard during the second guitar break at 3:07.
The second rhythm track has extremely compressed sound that takes no prisoners. This sound can best be heard during the first guitar break at 1:40.

Bass track was put through guitar amp simulation, the very same that the guitars use. The amp setting was made modern middlescooped high-gain and put through bass-cabinet modeling with 15" speaker. So it's the first time I use distorted bass on a mixing project like this. I thought that it seems to be so common these days that I'd give it a try as well.

I had no presets for the drums since I'm working on my laptop now, and all my previous presets for plugins I usually use are on my old PC. And also because of that I had to get new plugins, so I have all new tools in my pack now and I'm learning to use them as I mix.
This time I used some EQ on the bassdrum, snare and toms. And all tracks got a limiter in there.

The hardest part so far was getting the levels right for the drums and the guitars. After getting those out of the way the next big problem was the synths. That was luckily quite easy to fix, since some tube compression brought them up in the mix. Still there's so much going on with the synths all the guitar tracks and all, that I feel like the soundscape is a bit too full...

The vocals were quite easy since I had quite good vision what to do with them. Since there was 2 tracks of lead vocals, I took them both and panned them a bit to spread the stereo image and to leave some space in the middle for bass, drums and backing vocals.
I then applied some tube compression and reverb to them.

The backing vocals had one big problem; when they came along, the lead vocals got buried, and when I pushed the backing vocals back, it was like they were not there. So I came up with the idea to lower their pitch with one VST I have. So they got positioned in the middle along with some tube compression in register octave below the original.

So, this is my first time mixing black metal. What do you think of it? Was hell of a job, but fun nevertheless!