Andy Wallace.... HOW???

[kidmixalot]

So from what I've read of Andy, he uses mostly SSL stuff like its onboard eq and dynamics, and then uses some Lexi delays and verbs and an Eventide box.

So for those who know, does this mean he doesn't use stuff like LA-2's or 1176s on vox and Distressors on drums and stuff? His drum sounds are so tight and punchy, does anyone know if he ever uses a royally squashed drum group, which to me, gives more of a big Bonhamy sound rather then his tight punchy sound. Any cool facts about him are appreciated, his stuff rocks.

[ixnys]

How does this guy use compression? Sometimes it seems he uses a lot. I like how the guitars sound on the song "from the inside" by linkin park...they just ****ing growl!! My electrics always sound more cruncy than the tightass growl that's on their cd...is it tracking or it mixing?

[PTUser NYC]

I don't know anything about Andy Wallace's techniques, and this may seem really obvious, but I think that it bears repeating for some. I certainly remember the day I realized this, and what a difference it makes...

A big part of the way electric guitars sound is the Bass! You may be surprised to hear how thin and small some really huge guitar sounds are when they are soloed. The Bass can add a lot of bottom, but it can also add growl, bite whatever you want to call it.

Also, in the right mix, a small sounding guitar can feel huge! I think the trick to mixing is to make things seem like what you want them to sound like, as opposed to them actually sounding that way. There are lots of ways to do this.

Giving things their own little frequency area is one. Goosing the volume on important parts is another. i.e. give em a few huge snare drums in the right places, and they won't notice that its smaller elsewhere. You tend to hear what you THINK you're hearing, as opposed to what is actually there.

Someone (wiser than me) once said that you can have huge drums or huge guitars but not both at the same time. So the key is to give them each their space, and make them huge when your attention goes there.

A good mix is like a painting - the artist directs your attention to the things he wants at the times he (or she) wants. It can't ALL be bright, or ALL be dark. Just like it can't ALL be loud. YOu can't control how loud the stereo is gonna beon playback, all you can do is make things bigger or smaller, louder or softer than other things, and let psychology take over after that.

[Mike Tholen]

Originally posted by PTUser NYC:
I don't know anything about Andy Wallace's techniques, and this may seem really obvious, but I think that it bears repeating for some. I certainly remember the day I realized this, and what a difference it makes...

A big part of the way electric guitars sound is the Bass! You may be surprised to hear how thin and small some really huge guitar sounds are when they are soloed. The Bass can add a lot of bottom, but it can also add growl, bite whatever you want to call it.

Also, in the right mix, a small sounding guitar can feel huge! I think the trick to mixing is to make things seem like what you want them to sound like, as opposed to them actually sounding that way. There are lots of ways to do this.

Giving things their own little frequency area is one. Goosing the volume on important parts is another. i.e. give em a few huge snare drums in the right places, and they won't notice that its smaller elsewhere. You tend to hear what you THINK you're hearing, as opposed to what is actually there.

Someone (wiser than me) once said that you can have huge drums or huge guitars but not both at the same time. So the key is to give them each their space, and make them huge when your attention goes there.

A good mix is like a painting - the artist directs your attention to the things he wants at the times he (or she) wants. It can't ALL be bright, or ALL be dark. Just like it can't ALL be loud. YOu can't control how loud the stereo is gonna beon playback, all you can do is make things bigger or smaller, louder or softer than other things, and let psychology take over after that.

<font size="2" face="Verdana, Arial">[img]images/icons/wink.gif[/img] and that is the key to understanding how to mix.
so true.

[odysseys]

Originally posted by PTUser NYC:
I don't know anything about Andy Wallace's techniques, and this may seem really obvious, but I think that it bears repeating for some. I certainly remember the day I realized this, and what a difference it makes...

A big part of the way electric guitars sound is the Bass! You may be surprised to hear how thin and small some really huge guitar sounds are when they are soloed. The Bass can add a lot of bottom, but it can also add growl, bite whatever you want to call it.

Also, in the right mix, a small sounding guitar can feel huge! I think the trick to mixing is to make things seem like what you want them to sound like, as opposed to them actually sounding that way. There are lots of ways to do this.

Giving things their own little frequency area is one. Goosing the volume on important parts is another. i.e. give em a few huge snare drums in the right places, and they won't notice that its smaller elsewhere. You tend to hear what you THINK you're hearing, as opposed to what is actually there.

Someone (wiser than me) once said that you can have huge drums or huge guitars but not both at the same time. So the key is to give them each their space, and make them huge when your attention goes there.

A good mix is like a painting - the artist directs your attention to the things he wants at the times he (or she) wants. It can't ALL be bright, or ALL be dark. Just like it can't ALL be loud. YOu can't control how loud the stereo is gonna beon playback, all you can do is make things bigger or smaller, louder or softer than other things, and let psychology take over after that.

<font size="2" face="Verdana, Arial">I must disagree with this perspective,although it's of common use today.
I think that the best sounding records are the ones that have all parts sounding great even when soloed.Otherwise it's nothing what the band sounds like and becomes heavily tweaked.
I think that you can have big sounding drums AND big sounding guitars and,and..etc.
The reason is that all instruments have their own frequency range,that's what make their sound unique and distinguished from other instruments.
Many times we hear a band play live in their own small studio,haven't we thought:"wow,that sounds big"?Well,with proper instruments (for the sound we're after) and good recording technique,we should be able to catch that big,raw sound,instead of trying to saturate it later or tweak 'till death.

[picksail]

Both perspectives are accurate.

Odysseys has a very relevent point with regard to a featured musician or signature sound, which, unfortunately doesn't seem to exist much anymore. Please, don't misconstrue this, I agree with you here. I think this approach seems to work best with very few like instruments.

I agree 100% with PTUser's guitar and bass relationship, ecspecially when you begin stacking instruments like these that tend to occupy lots of real estate. I don't think that he intended for this to be considered an exclusive technique. Just a different approach.

[odysseys]

I understand what you say but i must add that these bass and guitar relationships should come ready if the band's chemistry (speaking from a sonic and artistic view) is already there,which after all,this will lead them to success.
So,maybe with all the mixing techniques we can manage to alter the band's sound and also maybe WE can lead them to success,but that's not their sound,definately,and this may have negative result when they're going to perform live.
The bands should be the masters of their sound and we should be their enhancers.
[img]images/icons/smile.gif[/img]

[beau]

i really dont think his drum sounds are all that great. and the gunshots are really annoying.

just my opinion.

[doorknocker]

Originally posted by odysseys:

So,maybe with all the mixing techniques we can manage to alter the band's sound and also maybe WE can lead them to success,but that's not their sound,definately,and this may have negative result when they're going to perform live.
The bands should be the masters of their sound and we should be their enhancers.
[img]images/icons/smile.gif[/img]

<font size="2" face="Verdana, Arial">Why are there recordings? If you want the live rawness of a band, well, no recording will totally capture that, the only way will be seeing them live.......
What I don't understand is why 'recording together in a room', 'we did it in 1 or 2 takes' etc. is so important with a lot of folks while nobody judges a painting by how long it took the artist to finish it or if he did it in sections or not (the same obviously goes for film)
I think PTUser NYC had some excellent points.... speaking of bass: don't forget that with close miking, there's proximity effect happening, that's a big reason why you often need to 'thin out' tracks....listen to say an acoustic guitar being played in a room, your ear isn't (normally) positioned close to the body of the instrument like a mic (normally) will be positioned. That's why there's usually way more low and midrange than you'll need.
I think this often also applies to live playing, a guitar player will dial in an 'awesome' sound only to end up being drowned out in low end mud.....
And getting back to Mr. Wallace: there's no better example of what PTUser NYC said as his work on Jeff Buckley's 'Grace'. Most importantly it's incredibly deep and powerful music...Wallace's production is tight, clear and powerful while still being 'organic', I learned a lot (still do) just by listening to this amazing record and it's an especially good example of PTUser NYC's 'small being big' theory......

Andi

[stealthbalance]

beau -

what gunshots ?? are you speaking about the
occasional reverb of a snare drum ???
no matter whether you like his work or not,
you must admit that he has attained a very
admirable position in our industry that many
here would like to acheive. that doesn't just
happen. he is quite good - although i will admit that
heavy bands don't all have that similar guitar sound-
or drum sound. he is hired to selll records and that he does.