You kids today are so lucky! When I was 15 years old and learning how to mix for the first time videos like this simply didn't exist. Everything he says is absolute gold, and if you are just starting out in recording watch this video over and over again and try and absorb everything he's saying.
I would've never believed their signal chain for guitars is so complicated! But Tue speaks the truth when he says "there's something nice about something being wrong sometimes" 😂
It looks to be several performances, each performance fed to: 3 heads/cabs amped and mic'd, plus feeds from a torpedo direct box coming off one of those heads or maybe something else?? And then the other randall head w the custom module brought in a few ways, direct, micd something else? Might be diff takes or jusr reamps. Im just listening mostly but thats what it looks like on first glance. (i have next to some mixing experience)
Looks like they double tracked with the 3 amps recorded/re-amped simultaneously, and then double tracked again with the mid-gain tone. Not sure if they recorded another pair or performances for the gritty tone, or they just re-amped the same performance. However, the processing done after recording was pretty minimal, at least judging by this video, although I did noticed a couple bypassed plugins on the gtr buss track that wasn't shown.
@@TheFlyingDanish it's complicated because it's 12 layers of guitar simultaneously mixed. that means each one is specifically equalized to sit in a specific frequency range in the whole mix so as not to step on the toes of the other instruments range, or even the other amps! it's alot of tweaking, you can't just plug in 6 amps and feed them all to the same source and expect it to sound listenable.
Mix clean tone and low gain in with your heavy gain guitars. Adding a little bit of gain guitars in layers sounds better than just one super high gain guitar! Also blend an out of phase mic with an in phase one, etc
I love how much recording has changed. In the early 90s a band I was in recorded our album on a hardware Tascam 8 track recorder (sold 5200 copies so nothing super huge I guess haha). It sounded fine and all but my God did it take forever to bounce tracks, only once you were sure you had it and all the rest. It's great having so much freedom now to essentially record as many as you want without worrying about signal degradation.
after watching this i added a parametric EQ to my signal chain in my line 6 hx effects, after the amps fx loop, and did a 3db cut on 5khz, 2khz, and 120hz, and a hi/lo cut at 20hz and 15.5hz, and i turned it on and off while playing heavy distortion and the difference was night and day! i could hear that honky hiss without it that i never even noticed before.
i was super surprised about the real nasty sound to noise ratio at around 4:50 take a listen to how loud the amps are vs the hiss they created, interesting that it somehow gets lost in the mix
I can't imagine how you can mix that many guitar tracks and not have any phase issues or overlapping frequencies that wind up sounding like sh*t. I tried working with 6 tracks of rhythm guitar and I wanted to pull my hair out trying to get them to play nice together. I have a lot to learn.
DITTO! That's what keeps running through my mind... I can't imagine the amount of time Tue spent time & phase aligning all of those tones.... or maybe not! hahaha... surely not a feat that's "EASY" to pull off!
He probably used phase alignment plugins such as Sound Radix Auto-Align or MeldaProduction MAutoAlign. It'd be really tedious to align those tracks manually. A useful trick I accidentally discovered to layer quad-tracked guitars is by starting with tones with higher treble and presence to each tracks. I discovered that double-tracking, and moreover, quad-tracking, shaves off higher frequencies and causes the combined tracks to be pulled backward. If you need your quad-tracks to be thick yet in-your-face you need to have more treble and presence in the first place. I think this is why Slash's lead tone on Sweet Child O' Mine sounds almost ear piercing by itself, but in a full band context it sounds amazing.
All vinyl does is limit the dynamic volume and frequency range, while adding its own warm EQ effect due to the material alone. People hear that effect and they think the music is better. It's definitely different, and if it sounds more pleasing to you then by all means please continue enjoying it forever. But on paper, vinyl has less dB range, and less frequency range so the lowest lows and the highest highs are non-existent, which is basically a natural hi/lo cut which does actually help harshness in most instances. and a natural compression due to the physical limits of the track sizes and needle. compression and hi/lo cuts are desirable most of the time in music so it makes sense, but alot is missing on vinyl, it's compensated for by the smooth analog waveforms, unnatural EQ and compression.
@@KodyXXVll i agree with all you say. But masters for vinyl, due to the limitations if the medium, ironically, forces the engineers to master much more carefully and with much more dynamic range. Again, ironically.
no obviously not every track shown on screen is guitars, that's the whole mix of the song, drums, bass, etc... It says in the description that over a dozen layers of guitars were used so, that's still alot.
He's right you know. 2k, 4k, and 6k were my problem frequencies for all my guitars. I couldn't believe the difference. When I bypassed the EQ it was so damn noisy I couldn't believe I hadn't heard that before. It was night and day difference. He's also right in that you can chop too much and then your guitars come out completely hollow.
From this articial online " We also used the Fortin Satan, and Salvation Mods’s C-Watt module for Randall MTS amps." www.premierguitar.com/articles/25052-meshuggahs-m%C3%A5rten-hagstr%C3%B6m-a-higher-standard?page=2
Hey gus, C-Watt is tube preamp by Salvation Audio (Mods). It is based on Randall/Egnater modular MTS preamp technology, but this is custom/butique modification by Antonin Salva. Check Salvation's web page: salvationaudio.com/index.php?page=c-watt I'm using these preamps and it is just amazing!
this is so relaxing just watching and listening to this, it's like a modern day Boss Ross video lol...."now we're just gonna mix some happy guitars over here"
I remember the first time I listened to this album, and it hit the riff before the verse and I was like holy FUCK the guitars on this album are insane. Incredible sound on this record (from not at all a mixing engineer at least)
Good question lol... I would imagine that there is a lot of reamping also, so maybe not as many as it seems, but then maybe not, if there are that many guitar tracks I bet it was a nightmare lol.
it looks like he split the guitar signal to 4 amps: a Rectifier, Marshall, Engl, and a Salvation audio cwatt. then he re-amped a di from that for 4 separate takes with slightly different eq on the amps for each take. Note that he isn't playing with the individual amp eq or levels at all. they were all recorded so well, and dialed in so well already he doesn't have to. he's just eq'ing all of them together on a guitar send group. That is awesome!
to me it looks like they quad tracked the guitars. for every individual take a new amp. splitting or reamping the same guitar signal through four amps woudn't make sence to me. if you look closer to the wave files you can notice they are not the exactly same. but maybe i'm wrong :D lets discuss!
When playing live in big venues I would imagine that EQ is somewhat "less" important, meaning they have their general tone of course, but you don't have to be as precise in a live setting, because of volume for a starts, the dimension added by multiple speakers etc, your hearing won't pick up the same stuff as if you were listening to the produced song through headphones ,also why lives don't sound as good as albums, you don't have the proximity. I think the C-WATT is a hiwatt module that simulates a 70s hiwatt preamp.
I think the guitar tone on Obzen sound good at first, but there is an annoying frequency on the album that makes it tiring to listen to at high volumes
:) It's amazing technology. It changed my life... really :) Now I can have almost any amp I want in small package for good money. Salvation preamps sounds exactly same as the original amps.
Yeah, kinda reminds me of the idea of the API 500 Series racks, does Randall still make modular amp systems like this? I remember seeing a version that was a Kirk Hammett signature amp but never heard of the Lynchbox.
This MTS modular system starts Bruce Egnater. Then he sold the licence to Randall. Randall is not make this anymore, but you can still find some heads and racks on ebay (it calls RM series like: RM4, RM20, RM50, RM100). Now this system brings back Synergy Amps. Salvation Audio is finishing their new rack preamp and you can choose two of 40 their preamp circuits for it. It works with standard amp with fx loop (you can use your amp + Salvation preamps and switch between them). Great idea.
Go watch a recent upload in 144p/240p, then watch it again in 720p. Can you not hear the difference? Granted youtube has gotten better at this lately, but definitely back in the old days the difference in audio was huge.
Sean Matson youtube streams video and audio separately then they're combined ... yes it was shitty back in the day ... but now everythings usually 126kbps AAC in an mp4 container no matter the resolution
Yep but doesn't 1080p and 720p have the same audio rate? and btw It seems like we hear the sound that's bleeding from the control room, but still an interesting video
How can you sit on the Aeron? Doesn't have the headrest and the plastic bevel on the backrest and the seat is messing with my back and thighs affecting the blood flow.
James Van Metre No I'm 190lbs and 6.33 tall. I find Embody to be the most comfortable chair but again, no headrest and that pricetag ... I used to have Ergohuman but it has the same problem with the bezel on the seat and now I'm just using Markus from Ikea. It's FAR from perfect but at least it's not pinching my thighs. I just keep it as a placeholder until I find something better for a sance price. I might be an extreme case as I'm rather tall and I'm working from home so I sit for ~10 hours a day.
Meahuggah had the meanest time idc what you say. Villains (Yüth forever), nemertines, xehanort, and omega virus all come in second for the sickest, tightest, and heaviest tones.
I've noticed that a lot of engineers use this technique of EQ'ing out the 'bad' or hissing frequencies, but isn't this just pointing out that the recording was flawed? It makes me wonder if it would be better to EQ out that frequency from the amp with a good multiband EQ, or the room itself could require dampening to reduce that certain offending frequency(?)
No, not necessarily. Sure, the idea is to capture a crispy, well rounded, 'in the ballpark' tone closest to how you want it to sound so you're free to mix your mix, and not fix your mix. But, generally It's not in good practice to have a whole lot of processing going to tape, save for some light compression to keep levels at bay, and a high pass filter to screen any rumble that may creep in. That's considered basic maintenance, and sure, if there's a loud discrepancy present, squelch it. But anymore then that is just destructive and limiting what options may be available for your recording. You think if there was a glaring, super annoying, and distracting noise in the take, the engineer WOULDN'T address it and re-record it? Did ya happen to notice that he was making the eq adjustments on groups, and not the individual tracks themselves? Regardless, if you decide to double, triple, quadruple, or quintuple stacks of heavy gainey guitars, that may all be from different amps/gear/eqs, the combination of all the various harmonic content will inevitably form undesirable and unpredictable buildups in different frequency ranges that weren't anticipated during tracking! Big whoop! The whole priority of the tracking stage is to do just that, capture each element that does the project most justice, and ticks all the boxes of what makes a useable piece of audio. Editing is when you clean up any excess noise in between hits, tighten up some parts here and there, construct a comp track from different takes, and trim the fat. Basically, you're just cleaning and preparing all the ingredients before plopping them all in the stew! Mixing, on the other hand, is what defines your worth as an engineer. It's juggling, a balancing act, it's wack-a-mole, but it's also elevation and enhancement. You tuck in the blemishes, and intensify the main elements. It's a different headspace entirely than the prior stages, because YOU CAN NO LONGER FOCUS ON MAKING AN INDIVIDUAL TRACK SOUND GREAT WITHOUT CONTEXT! An experienced mixing engineer understands that it does not matter how a track sounds on it's own, but how it sounds IN THE MIX. Sometimes tracks will sound downright terrible on their lonesome, but they just so happen to interact perfectly with all the other elements. It's a sign of a novice mixing engineer if he/she wastes too much time ensuring a single element sounds perfect, just so it all turns into a muddy, bloated mess when it's in context with the other tracks! So, to address your original statement about avoiding a flawed recording by preemptively making an effort to capture the element in it's purest form by taking extra precaution is surely a sound strategy, but being quick to assume that these random aural variations, that play a role in EVERY MIX, were results of neglectful recording methods, was foolish of you to presume I'm sorry to say. Especially when you didn't check yourself on the fact that the adjustments in question weren't done to single tracks, but were applied to groups of distorted guitars that when played together produced an undesirable hiss. That's like hearing someone claim that phase is "bad", or if someone says short/open circuits in the world of electronics are considered bad. That's just completely stupid, and naive. These phenomena exist because they're products of opposing forces intricately engineered to work together and induce a desired reaction or function. When they occur involuntarily is when they can be considered "bad," but you can't always assume the problems that rear their ugly after the party started were simply ignored while tracking. Sure, you prepare to counter as many acoustic anomalies and aim to secure the cleanest, purest, and sparkly recording session that you set out for, but the real skill is how you can suddenly manage to represent apples in a new, unprecedented, and appetizing light, while also cleverly downplaying the inherent arsenic contained in it's seeds. In conclusion, I'm sure you may find this chunk of text extraordinarily condescending, and I wouldn't blame you. It's obvious you're no stranger to this field of occupation. You just have to be more mindful about what you implicitly say about you, in between the lines, when you make objections like this. But, you're initial comment insinuating that this professional was somehow unaware of how to go about achieving the bare minimum warranted a mild deprecation from me. Your head is in the right place, though.
JaimeEskobar Yes. To clarify, I'm referring to the fact that Tue has worked on all of Mnemic's releases, and I was just seeing if there were any other Mnemic fans that watched the video. I am a long-time fan of the band, and it's because of his work with them that I have become a fan of his as well and entertain the thought of working with him some day. It would be a dream come true.
it looks like they split the guitar signal to 4 different amps that were all playing simultaneously in the same room. Circle of tone (youtuber) has a video about the latest meshuggah recording setup. they then reamped from a clean di signal of the original recording, back through the same 4 amps, but (i'm guessing here) with slightly different settings essentially giving them 4 blends of 4 amps, with everything time aligned perfectly because it's the same playthrough. fuck yeah!
I just found this video and would like to download the stems and watch the full videos. Unfortunately though on your website it says that "it wouldn't be fair" for me to gain access to previous material as a subscriber. So, another unfortunate thing is you lost a sale. I would pay for this any day of the week. Really hope you change your business model. What's not fair (and doesn't make sense) is to force a subscriber to be in the right place at the right time for what they are looking for and if you miss it, your screwed (as your not allowed access to previous material). Cmon guys.
Hey man, I'm not sure why you got that message but it's absolutely not the case. I've purchased several old sessions from before I joined NTM. You do have to sign up for NTM and pay for this current month but, once you're signed up, you can purchase old sessions. I believe this month the Nolly Periphery section is on sale for like $15
Brian Nielsen they had multiple amps going at the same time, and chose the one that fit the song best. There is a small documentary on this, atleast its mentioned briefly. Just look up Meshuggah Live Puk Studio
does anyone else love Meshuggah but wish their guitars were easier to hear? there's such great stuff going on but it's hard to pick out sometimes, the guitars sound kinda scratchy and toneless to me, especially on Chaosphere. Don't get me wrong, love em though.
my guess is those 75watt celestions that come with marshall cabs. if thats what they used, i bet thats it. it really scoops the sound and sounds phasey
His band was really good (GROPE). A very underappreciated band from Denmark in the 90's. The first two albums were gold. Excellent guitars by him, nice composition and style, nice vocals and growls by the vocalist. They started releasing shit in the third LP, when they decided to go mainstream. Didn't work out, though.
8:28 FUCK i thought i was the only person on the planet who did this. i fuckin run 3 10 bands in a row of specified notches sometimes. i get quite a good custom sound hahaha. sure as shit wish they did this on all the previous meshuggah recordings. fuck i have to do it myself and remix them down to even listen to some of them. hot damn
HAHAAAAAAA I got all these profiled amps on my Kemper ´cause Tue called me and they wanted to borrow my kemper just to try it out... well Fredrik and Mårten went to profile all the amps used on this record ..both guitar and bass ... and they fooled around with my Kemper... I picked it up and had a good talk with fredrik T.. the funny thing is... when I first came into the studio...they were gathered around a table going "dad da da BAK...da d aBAK..da" .. Hell yes
Ironically their previous albums guitar tones were created from scratch in cubase using processing/plugins on nothing but a clean di guitar signal (watch the making of Koloss documentary it's on youtube). So, this album has much less processing, what's going on is simple level balancing of the various amps/tones to get the overall tone they were after (with the odd processing for correction here and there). So; much less technology.
Thomas Haake still IS Meshuggah. Without his drumming/ writing carrying the music it would be so repetitive and boring. If he ever leaves that will be RIP Mesh.
i was like please be koloss... damnit i'll be honest with you, thank you but no thank you, i feel like your advice will steer me in the wrong direction, VSOR sounded really squashed, and... well... aids.
Jens vocals are so boring dry and repetitive and lifeless, I wish they would release instrumental versions of their music. Haake has publically spoken out against doing this tho. Sorry Jens ha
![Archspire "Remote Tumor Seeker" raw multi-tracks [UNBOXING]](http://i.ytimg.com/vi/Kfk16iC6g4o/mqdefault.jpg)
This will really help me the next time I find myself mixing Meshuggah's album.
😂😂😂
You kids today are so lucky! When I was 15 years old and learning how to mix for the first time videos like this simply didn't exist. Everything he says is absolute gold, and if you are just starting out in recording watch this video over and over again and try and absorb everything he's saying.
I would've never believed their signal chain for guitars is so complicated! But Tue speaks the truth when he says "there's something nice about something being wrong sometimes" 😂
is it a group of high gain guitars, and a group of mid gain guitars? (i have next to no mixing experience)
It looks to be several performances, each performance fed to: 3 heads/cabs amped and mic'd, plus feeds from a torpedo direct box coming off one of those heads or maybe something else?? And then the other randall head w the custom module brought in a few ways, direct, micd something else? Might be diff takes or jusr reamps. Im just listening mostly but thats what it looks like on first glance. (i have next to some mixing experience)
What is complicated? Its just many sources to choose from.
Looks like they double tracked with the 3 amps recorded/re-amped simultaneously, and then double tracked again with the mid-gain tone. Not sure if they recorded another pair or performances for the gritty tone, or they just re-amped the same performance.
However, the processing done after recording was pretty minimal, at least judging by this video, although I did noticed a couple bypassed plugins on the gtr buss track that wasn't shown.
@@TheFlyingDanish it's complicated because it's 12 layers of guitar simultaneously mixed. that means each one is specifically equalized to sit in a specific frequency range in the whole mix so as not to step on the toes of the other instruments range, or even the other amps! it's alot of tweaking, you can't just plug in 6 amps and feed them all to the same source and expect it to sound listenable.
"Bleed is not always wrong"
Hehe.
Lmao i was waiting for that part thinking he was discussing the EQ on Bleed haha.
This is not a guitar sound. This is Mordor my friend
This is absolutely insane. I think I'm doing cool stuff with my two guitar tracks hard-panned and then there's this... 🤯🤯🤯
Mix clean tone and low gain in with your heavy gain guitars. Adding a little bit of gain guitars in layers sounds better than just one super high gain guitar! Also blend an out of phase mic with an in phase one, etc
@Zelim you dont, this is the definition of over produced
@@0101-g3q a similar sound could be achieved with way less time.
@@0101-g3q yeah I guess.
@@thatlonzoguydisagree
I watch this video to go to sleep, his voice and those guitar tones are pure ASMR
weird right? i never tought i will fell asleep with messugah
I love how much recording has changed. In the early 90s a band I was in recorded our album on a hardware Tascam 8 track recorder (sold 5200 copies so nothing super huge I guess haha).
It sounded fine and all but my God did it take forever to bounce tracks, only once you were sure you had it and all the rest.
It's great having so much freedom now to essentially record as many as you want without worrying about signal degradation.
after watching this i added a parametric EQ to my signal chain in my line 6 hx effects, after the amps fx loop, and did a 3db cut on 5khz, 2khz, and 120hz, and a hi/lo cut at 20hz and 15.5hz, and i turned it on and off while playing heavy distortion and the difference was night and day! i could hear that honky hiss without it that i never even noticed before.
"There *is* bass in there...... he can go lower :D"
jajaja
How does he restrain himself from head banging is what i'd like to know.
Yes. That. But I guess if I heard that riff as many times as he did I would hate it. (Well, maybe not. ;) )
he is very slightly at certain points haha
Hahaha fr
Try doing this for hours......you start to go numb
This is great. Thanks Nail the mix, you guys are doing and awesome job.
Seeing him the same EQ cuts I make warmed my heart
Good for you jerkwad
What a fucking awesome song.
i was super surprised about the real nasty sound to noise ratio at around 4:50 take a listen to how loud the amps are vs the hiss they created, interesting that it somehow gets lost in the mix
Custom dithering 🤣
I was thinking about that. It adds something to the overall atmosphere and fills up the background somehow. Very cool
I've heard that Cannibal Corpse had WALLS of guitar tracks on their albums. Now I can see such a thing for real. Impressive!
So cool to hear all the original guitar recording, especially since they were from Amps instead of Axe FX like previous Meshuggah albums
have you seen circle of tone's video on Meshuggah's recording setup? It's absolutely insane for this album!!
It sounds absolutely massive.
In process of building proper treated studio mixing room - but im freaking joining!!!! This is best in the world
I can't imagine how you can mix that many guitar tracks and not have any phase issues or overlapping frequencies that wind up sounding like sh*t. I tried working with 6 tracks of rhythm guitar and I wanted to pull my hair out trying to get them to play nice together. I have a lot to learn.
DITTO! That's what keeps running through my mind... I can't imagine the amount of time Tue spent time & phase aligning all of those tones.... or maybe not! hahaha... surely not a feat that's "EASY" to pull off!
He probably used phase alignment plugins such as Sound Radix Auto-Align or MeldaProduction MAutoAlign. It'd be really tedious to align those tracks manually.
A useful trick I accidentally discovered to layer quad-tracked guitars is by starting with tones with higher treble and presence to each tracks. I discovered that double-tracking, and moreover, quad-tracking, shaves off higher frequencies and causes the combined tracks to be pulled backward. If you need your quad-tracks to be thick yet in-your-face you need to have more treble and presence in the first place. I think this is why Slash's lead tone on Sweet Child O' Mine sounds almost ear piercing by itself, but in a full band context it sounds amazing.
I would love to hear the whole album straight from the mix, without the smashed mastering or with a gentler "vinyl oriented/audiophile" one.
The drums already sound buried under the guitars to me here :( But hey DR7 is better than DR5... we're getting there.
All vinyl does is limit the dynamic volume and frequency range, while adding its own warm EQ effect due to the material alone. People hear that effect and they think the music is better. It's definitely different, and if it sounds more pleasing to you then by all means please continue enjoying it forever. But on paper, vinyl has less dB range, and less frequency range so the lowest lows and the highest highs are non-existent, which is basically a natural hi/lo cut which does actually help harshness in most instances. and a natural compression due to the physical limits of the track sizes and needle. compression and hi/lo cuts are desirable most of the time in music so it makes sense, but alot is missing on vinyl, it's compensated for by the smooth analog waveforms, unnatural EQ and compression.
@@KodyXXVll i agree with all you say. But masters for vinyl, due to the limitations if the medium, ironically, forces the engineers to master much more carefully and with much more dynamic range. Again, ironically.
geezus, ALL THOSE are just the guitar tracks?!
no obviously not every track shown on screen is guitars, that's the whole mix of the song, drums, bass, etc... It says in the description that over a dozen layers of guitars were used so, that's still alot.
Looks like the individual mics used to make one giant tone.
He's right you know. 2k, 4k, and 6k were my problem frequencies for all my guitars. I couldn't believe the difference. When I bypassed the EQ it was so damn noisy I couldn't believe I hadn't heard that before. It was night and day difference. He's also right in that you can chop too much and then your guitars come out completely hollow.
Wow, who would’ve guessed one of the top producers in modern metal is right. This is shocking.
@@joeblow1229 I would've ne ee guessed it before spending months on my own stuff. Simply out of ignorance.
"That annoying whistle guy finally went home and now we can listen to music" - this line made this whole learning session so memorable.
how do you account for phase when blending so many layers?
"Just because something is annoying doesn't mean you have to get rid of it altogether" - Like Stepmoms. Or Rinkles..
hi, what's the C Watt?
I second this question. It sounds freaking amazing!
From this articial online " We also used the Fortin Satan, and Salvation Mods’s C-Watt module for Randall MTS amps." www.premierguitar.com/articles/25052-meshuggahs-m%C3%A5rten-hagstr%C3%B6m-a-higher-standard?page=2
Hey gus, C-Watt is tube preamp by Salvation Audio (Mods). It is based on Randall/Egnater modular MTS preamp technology, but this is custom/butique modification by Antonin Salva. Check Salvation's web page: salvationaudio.com/index.php?page=c-watt
I'm using these preamps and it is just amazing!
And while we’re there, what is the”T-watt” 😎
this is so relaxing just watching and listening to this, it's like a modern day Boss Ross video lol...."now we're just gonna mix some happy guitars over here"
wow.. this guy is good. clip at 17:10 i didnt even hear...
this guyyyy
what a fuckin' boss
You play guitars pretty bossy as well my friend
I remember the first time I listened to this album, and it hit the riff before the verse and I was like holy FUCK the guitars on this album are insane. Incredible sound on this record (from not at all a mixing engineer at least)
They should release an instrumental version of their albums. This stuff is absolutely magic.
I never understand why they don't do this I mean they have the stems
What a wall of sound. Just holy shit
What is this 'cwatt'? Is this some kind of pre-amp or pedal?
Struggling to find what this is am I missing something here?
4:52 THAT FUCKING TONE OMG
How many guitar tracks are we dealing with here?
Good question lol... I would imagine that there is a lot of reamping also, so maybe not as many as it seems, but then maybe not, if there are that many guitar tracks I bet it was a nightmare lol.
it looks like he split the guitar signal to 4 amps: a Rectifier, Marshall, Engl, and a Salvation audio cwatt. then he re-amped a di from that for 4 separate takes with slightly different eq on the amps for each take. Note that he isn't playing with the individual amp eq or levels at all. they were all recorded so well, and dialed in so well already he doesn't have to. he's just eq'ing all of them together on a guitar send group. That is awesome!
to me it looks like they quad tracked the guitars. for every individual take a new amp. splitting or reamping the same guitar signal through four amps woudn't make sence to me. if you look closer to the wave files you can notice they are not the exactly same. but maybe i'm wrong :D lets discuss!
how do they apply that eq at 2:27 on stage? the live sound guy? and what the hells a c wat?
When playing live in big venues I would imagine that EQ is somewhat "less" important, meaning they have their general tone of course, but you don't have to be as precise in a live setting, because of volume for a starts, the dimension added by multiple speakers etc, your hearing won't pick up the same stuff as if you were listening to the produced song through headphones ,also why lives don't sound as good as albums, you don't have the proximity. I think the C-WATT is a hiwatt module that simulates a 70s hiwatt preamp.
RiffsNReviews that's what I thought, thanks
I think the guitar tone on Obzen sound good at first, but there is an annoying frequency on the album that makes it tiring to listen to at high volumes
Chaosphere is harsh
Check out the remaster of Obzen
most important trick 10:22
The EQ or the beer? 😅
@Eyal
Love the 4K death 💀 at 17:00.
Joel your tea's ☕️ ready.
"Bleed is not always wrong" - especially when its Meshuggah.
I would love to get these guitar tracks JUST TO make impulse responses from haha
I tried with voxengo, didn't work really well😅
So many tracks.
I can still hear Thomas in the background 0:48
When Tue kicked in the C Watt tracks it made me smile so much lol, that low end is just nasty as hell and must sound disgusting through a sub!
More about C-Watt tube preamp: salvationaudio.com/index.php?page=c-watt
Ugh, I need that in my life!
:) It's amazing technology. It changed my life... really :) Now I can have almost any amp I want in small package for good money. Salvation preamps sounds exactly same as the original amps.
Yeah, kinda reminds me of the idea of the API 500 Series racks, does Randall still make modular amp systems like this? I remember seeing a version that was a Kirk Hammett signature amp but never heard of the Lynchbox.
This MTS modular system starts Bruce Egnater. Then he sold the licence to Randall. Randall is not make this anymore, but you can still find some heads and racks on ebay (it calls RM series like: RM4, RM20, RM50, RM100). Now this system brings back Synergy Amps.
Salvation Audio is finishing their new rack preamp and you can choose two of 40 their preamp circuits for it. It works with standard amp with fx loop (you can use your amp + Salvation preamps and switch between them). Great idea.
The interviewer randomly giving Tue a beer at 10:22
Awesome
How many guitar tracks are there??
How can you not put this up at 1080p?? The audio quality is better at that rate and this is a mix video, c'mon.
uhhhhh how does video quality change the audio quality?????
Go watch a recent upload in 144p/240p, then watch it again in 720p. Can you not hear the difference? Granted youtube has gotten better at this lately, but definitely back in the old days the difference in audio was huge.
Sean Matson youtube streams video and audio separately then they're combined ... yes it was shitty back in the day ... but now everythings usually 126kbps AAC in an mp4 container no matter the resolution
jabahubut shizzits TIL, thanks for the information!
Yep but doesn't 1080p and 720p have the same audio rate? and btw It seems like we hear the sound that's bleeding from the control room, but still an interesting video
Muy bueno!
Dope video!! 💯👊🏼🏁
Shakada Shakada Shakada Shakada
Shaka shaka 🤙
Awesome!
How can you sit on the Aeron? Doesn't have the headrest and the plastic bevel on the backrest and the seat is messing with my back and thighs affecting the blood flow.
replicant #85 lol wut r u like 500 pounds?
James Van Metre No I'm 190lbs and 6.33 tall. I find Embody to be the most comfortable chair but again, no headrest and that pricetag ... I used to have Ergohuman but it has the same problem with the bezel on the seat and now I'm just using Markus from Ikea. It's FAR from perfect but at least it's not pinching my thighs. I just keep it as a placeholder until I find something better for a sance price. I might be an extreme case as I'm rather tall and I'm working from home so I sit for ~10 hours a day.
HOLY FUCK THATS A LOT OF GUITAR TRACKS WTF?!?!?!?!?!?!?!?!
On the album the sound is so crisp this video is not even near the sound that they published. Here sounds so much better :)
This should help me more with mixing Periphery :D
Peripheral
Noice.
Is each guitar layer actually a different take?
is the c-watt he is referring to the hiwatt module?
the same question
WHAT IS THE C-WATT???????????????
HOW AND WHAT TO DO WITH THE TRACKS TO MAKE IT??? AND WHAT TRACKS SHOULD I USE????????
Meahuggah had the meanest time idc what you say. Villains (Yüth forever), nemertines, xehanort, and omega virus all come in second for the sickest, tightest, and heaviest tones.
I love omega virus guitar tone 😘🤌
This is more like mixing motorbikes
Did they use ampsims on this record?
Rob loyst Nope.
FREDRIK THORDENDAL'S GUITAR SOLO IN MONSTROCITY, IS THE BEST GUITAR SOLO IN THE HISTORY OF MANKIND... MONSTROCITY IS JUST FUCKING FLAWLESS!!!...
awesome
holy crap i hear it
massive!
Is that 30 tracks of the same guitar take going through different amps and cabs?
i think from 2 different guitars, left and right
Chris Evans But are they the same two takes?
@@aragorn767 I think so. Reamped through different amps and eq'd slightly different from each other.
I've noticed that a lot of engineers use this technique of EQ'ing out the 'bad' or hissing frequencies, but isn't this just pointing out that the recording was flawed? It makes me wonder if it would be better to EQ out that frequency from the amp with a good multiband EQ, or the room itself could require dampening to reduce that certain offending frequency(?)
That could work, but what about when it doesn't work? Does it really matter what you use as long as you get the job done in the end?
No, not necessarily. Sure, the idea is to capture a crispy, well rounded, 'in the ballpark' tone closest to how you want it to sound so you're free to mix your mix, and not fix your mix. But, generally It's not in good practice to have a whole lot of processing going to tape, save for some light compression to keep levels at bay, and a high pass filter to screen any rumble that may creep in. That's considered basic maintenance, and sure, if there's a loud discrepancy present, squelch it. But anymore then that is just destructive and limiting what options may be available for your recording. You think if there was a glaring, super annoying, and distracting noise in the take, the engineer WOULDN'T address it and re-record it? Did ya happen to notice that he was making the eq adjustments on groups, and not the individual tracks themselves? Regardless, if you decide to double, triple, quadruple, or quintuple stacks of heavy gainey guitars, that may all be from different amps/gear/eqs, the combination of all the various harmonic content will inevitably form undesirable and unpredictable buildups in different frequency ranges that weren't anticipated during tracking! Big whoop! The whole priority of the tracking stage is to do just that, capture each element that does the project most justice, and ticks all the boxes of what makes a useable piece of audio. Editing is when you clean up any excess noise in between hits, tighten up some parts here and there, construct a comp track from different takes, and trim the fat. Basically, you're just cleaning and preparing all the ingredients before plopping them all in the stew! Mixing, on the other hand, is what defines your worth as an engineer. It's juggling, a balancing act, it's wack-a-mole, but it's also elevation and enhancement. You tuck in the blemishes, and intensify the main elements. It's a different headspace entirely than the prior stages, because YOU CAN NO LONGER FOCUS ON MAKING AN INDIVIDUAL TRACK SOUND GREAT WITHOUT CONTEXT! An experienced mixing engineer understands that it does not matter how a track sounds on it's own, but how it sounds IN THE MIX. Sometimes tracks will sound downright terrible on their lonesome, but they just so happen to interact perfectly with all the other elements. It's a sign of a novice mixing engineer if he/she wastes too much time ensuring a single element sounds perfect, just so it all turns into a muddy, bloated mess when it's in context with the other tracks! So, to address your original statement about avoiding a flawed recording by preemptively making an effort to capture the element in it's purest form by taking extra precaution is surely a sound strategy, but being quick to assume that these random aural variations, that play a role in EVERY MIX, were results of neglectful recording methods, was foolish of you to presume I'm sorry to say. Especially when you didn't check yourself on the fact that the adjustments in question weren't done to single tracks, but were applied to groups of distorted guitars that when played together produced an undesirable hiss. That's like hearing someone claim that phase is "bad", or if someone says short/open circuits in the world of electronics are considered bad. That's just completely stupid, and naive. These phenomena exist because they're products of opposing forces intricately engineered to work together and induce a desired reaction or function. When they occur involuntarily is when they can be considered "bad," but you can't always assume the problems that rear their ugly after the party started were simply ignored while tracking. Sure, you prepare to counter as many acoustic anomalies and aim to secure the cleanest, purest, and sparkly recording session that you set out for, but the real skill is how you can suddenly manage to represent apples in a new, unprecedented, and appetizing light, while also cleverly downplaying the inherent arsenic contained in it's seeds. In conclusion, I'm sure you may find this chunk of text extraordinarily condescending, and I wouldn't blame you. It's obvious you're no stranger to this field of occupation. You just have to be more mindful about what you implicitly say about you, in between the lines, when you make objections like this. But, you're initial comment insinuating that this professional was somehow unaware of how to go about achieving the bare minimum warranted a mild deprecation from me. Your head is in the right place, though.
all recordings have frequencies that need to be dropped when in a mix.
unavoidable.
@@hendrix5757You sir, have taught me so much in just that passage. Thank you!
Mnemic, anyone?
Meshuggah inspired Mnemic's sound.
JaimeEskobar
Yes. To clarify, I'm referring to the fact that Tue has worked on all of Mnemic's releases, and I was just seeing if there were any other Mnemic fans that watched the video. I am a long-time fan of the band, and it's because of his work with them that I have become a fan of his as well and entertain the thought of working with him some day. It would be a dream come true.
Signing in!
were these all recorded separately?
it looks like they split the guitar signal to 4 different amps that were all playing simultaneously in the same room. Circle of tone (youtuber) has a video about the latest meshuggah recording setup. they then reamped from a clean di signal of the original recording, back through the same 4 amps, but (i'm guessing here) with slightly different settings essentially giving them 4 blends of 4 amps, with everything time aligned perfectly because it's the same playthrough. fuck yeah!
what exactly is C watting ? :) ( stupid question ? ;)
Its a preamp module
I just found this video and would like to download the stems and watch the full videos. Unfortunately though on your website it says that "it wouldn't be fair" for me to gain access to previous material as a subscriber. So, another unfortunate thing is you lost a sale. I would pay for this any day of the week. Really hope you change your business model. What's not fair (and doesn't make sense) is to force a subscriber to be in the right place at the right time for what they are looking for and if you miss it, your screwed (as your not allowed access to previous material). Cmon guys.
Hey man, I'm not sure why you got that message but it's absolutely not the case. I've purchased several old sessions from before I joined NTM.
You do have to sign up for NTM and pay for this current month but, once you're signed up, you can purchase old sessions. I believe this month the Nolly Periphery section is on sale for like $15
Meshuggah ...no bullshit
Jesus man when he increases the bass at around 2:55. Absolutely fucked
just wooow!!!
How many rythm guitars is there? Both super gained and minor gained guitars. That must be a lot.
I want to know too. Says "over a dozen" in the description.
Yes....I know. I was just wondering about the rythm guitar section only and hoped some one knew. A dozen might be with leads and everything
Brian Nielsen they had multiple amps going at the same time, and chose the one that fit the song best. There is a small documentary on this, atleast its mentioned briefly. Just look up Meshuggah Live Puk Studio
I like this fucking guy! :)
Always fun to see pro's work with Pro Tools.
Jos Meester only cause he has to for this podcast 😂
James Van Metre not necessarily. I've seen them do podcasts where the engineer is using Cubase, Logic or Reaper to name a few.
❤❤❤
I heard that the more alcohol you consume, the less you can perceive higher frequencies.
So he doesn't low pass his guitar? And leaves stuff under 150Hz? Wot
You mean high pass?
does anyone else love Meshuggah but wish their guitars were easier to hear? there's such great stuff going on but it's hard to pick out sometimes, the guitars sound kinda scratchy and toneless to me, especially on Chaosphere. Don't get me wrong, love em though.
they have low mids
bangasou12 Nothing though is so clear, love that album!
its clear cuz they remade it using their new 30" scale guitars with m8 pick ups, they still have low mids
bangasou12 I listened to it before they remade it, thought it was clear then. But that's good info cheers.
my guess is those 75watt celestions that come with marshall cabs. if thats what they used, i bet thats it. it really scoops the sound and sounds phasey
9:40 well isnt them playing the same fucking notes telling nothing?
The riff on its own just sounds damned random
His band was really good (GROPE). A very underappreciated band from Denmark in the 90's. The first two albums were gold. Excellent guitars by him, nice composition and style, nice vocals and growls by the vocalist. They started releasing shit in the third LP, when they decided to go mainstream. Didn't work out, though.
8:28 FUCK i thought i was the only person on the planet who did this. i fuckin run 3 10 bands in a row of specified notches sometimes. i get quite a good custom sound hahaha. sure as shit wish they did this on all the previous meshuggah recordings. fuck i have to do it myself and remix them down to even listen to some of them. hot damn
dam how many tracks lol
WTF…. Haha so many tracks lol 🤘🏻😂
sounds better than the master. right?
Definitely
yep. hes good. this guys really smart. EDIT: im better. i dont pick my nose as often on camera.
WTF, how many guitar tracks have in this shit?
HAHAAAAAAA I got all these profiled amps on my Kemper ´cause Tue called me and they wanted to borrow my kemper just to try it out... well Fredrik and Mårten went to profile all the amps used on this record ..both guitar and bass ... and they fooled around with my Kemper... I picked it up and had a good talk with fredrik T.. the funny thing is... when I first came into the studio...they were gathered around a table going "dad da da BAK...da d aBAK..da" .. Hell yes
Good for you
They're trying to detune their guitars after hearing Nirvana's "Endless Nameless."
Too much technology and endless tracks forthis?
Ironically their previous albums guitar tones were created from scratch in cubase using processing/plugins on nothing but a clean di guitar signal (watch the making of Koloss documentary it's on youtube). So, this album has much less processing, what's going on is simple level balancing of the various amps/tones to get the overall tone they were after (with the odd processing for correction here and there). So; much less technology.
Хули все так мутно?
Are you dead yet
Thomas Haake still IS Meshuggah. Without his drumming/ writing carrying the music it would be so repetitive and boring. If he ever leaves that will be RIP Mesh.
Thordendal is the one who writes the most of the music anyway.
Unbiased opinion of a guy that goes by fanaticaldrummer. We get it, you love your drums, go listen to your bongos then.
i was like please be koloss... damnit i'll be honest with you, thank you but no thank you, i feel like your advice will steer me in the wrong direction, VSOR sounded really squashed, and... well... aids.
Jens vocals are so boring dry and repetitive and lifeless, I wish they would release instrumental versions of their music. Haake has publically spoken out against doing this tho. Sorry Jens ha
wtf