@NollyPeriphery

Adam Nolly Getgood

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Hey! If I remember right, you said something about the NG-2 model is going to have a mapel fretboard, but by any chance, is there possible to get one with an ebony freoboard?

The NG-2 model will be maple only, we toyed with the idea of the ebony board and had a prototype made but ultimately chose against it due to sonic and aesthetic reasons, as well as not being able to guarantee the stability on par with the maple Dingwall uses.
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Liked by: Dominick De Kauwe Harley Atwood

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Are there any things changed for your Dingwall NG-2 model compared to the Combustion that we might not know about yet?

Most of the spec has been publicised at this point - apart from the aesthetic changes the single biggest thing I wanted for the NG-2 was to have the Z2-style pickup layout with the option to have the pickups in series, which gives a massive sound I can't live without now. I'm not sure if it's been mentioned that the neck spec has been changed to feel slimmer than the Combustion, and closer to that of the Afterburner.
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Liked by: Thomas An Luciano Díaz

So I saw your Zilla 4x12 and was wondering your current thoughts on the Lynchbacks? Also how would you compare the Lynchback/V30 setup vs the V30/T75 setup in an Uberkab for non-mic'd playing.

I love the Lynchbacks, they sound amazing and provide a nice alternative to the standard V30 sound, as timeless as that is. It helps the Zilla cab itself is fantastic, and having a pair of each speaker type in the cab gives a host of options for mic'ing.
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For mixing: better a clean input or already distorted ?

I prefer clean, one can always dirty up a clean signal, but can't clean up a dirty one. That said, I like to commit to certain decisions during tracking - leaving every decision open all the way to the mix stage can be unproductive and mean you're essentially engineering when you should be mixing.
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Liked by: Dominick De Kauwe Jango Fett

Hey, Nolly. What kind of visa do you personally apply for to perform with Periphery stateside? Is there any online information you can refer me? I am trying to find this out for my band who may bring on a foreign national.

Hi, every case is different, you should consult with professionals over any immigration matter. I can personally recommend Tamizdat - http://www.tamizdat.org/
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Liked by: Aidan Pouncy

Clear is so good man, Extraneous and Zero are my favourite tracks so far. Any clues as to what type of set-up you used, whether they're mic techniques or pickup choice etc., for guitar and bass in particular in order to achieve the driven tone?

Thank you! The guitar tone is Misha's Jackson 8-string and Axe FX II with a custom cab IR I made. For bass I went direct and used Amplitube for the grit, since I had a very limited time to engineer, record, mix and master my track - I'd normally use my Darkglass B7K pedal.
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Liked by: Lucian Freeze Steve Eldridge Alexander Wald Emmanuel Radin Eric Budnick Jack Mackenzie Shakespeare Robert Percy

I know you mentioned this earlier, but I can't find it... You said you used Ozone, I'm not sure in what capacity but I believe you said that you put it on your master output. What do you set the threshold and such at? My mixes always sound squashed and think its because of my output comp.

I don't use Ozone these days, I use the Fabfilter Pro-L limiter instead. I leave the threshold/gain level set at 0 and use the last plugin in the master chain before the limiter to make up the gain to the level I'm after. That way I can bypass the limiter without experiencing any drop in level, in order to hear what the limiting is doing to my track.
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Liked by: magnusvonkilgore Nikita Biloshytskyi Daniel Stepinsky Harkaran Devesh Dayal

I don't doubt your abilities as a producer or a musician in any way, but how can you explain the 425k followers on soundcloud? That's A LOT of people. I didn't know fake accounts were such a problem on soundcloud too.

Yeah, unfortunately over the last year it seems to have been targeted by spam accounts. For a while it was getting a new fake like every minute for a period of several months. Very annoying but I'm not going to start afresh with a new account and lose the (real) play count.
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Liked by: Jorge Marrufo Thomas An Blake Bagnell Jansher Aquib John Alden Davis Robert Percy ~MarlonBrando~

Do you use lots of different EQs in your mixes? I read somewhere that all digital EQs are the same, or can at least be made to sound the same.

I use the Fabfilter Pro-Q for clean/surgical stuff, and the Waves SSL E-channel for almost everything else. Sometimes I use the stock Logic EQ for notching, and sometimes the Neve-style EQ mode on McDSP Channel G (usually on overheads).
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Liked by: magnusvonkilgore Nikita Biloshytskyi Louis Lambourne

Hi, Nolly. The rock track you posted sounds great! Your snares always have this fat smack quality to them that I wish I heard in every record! Would you mind sharing which snare you used? Were drums sampled or recorded live? Thanks!

Carlos Añez
Thanks, those are fully natural drums. The snare was my Gretsch Bell Brass 14x6.5", plus Ryan hitting very hard had a lot to do with the "smack".
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Liked by: нer prιnce.

Hey Nolly! Your kick drums have this distinct sound, like boxing gloves punching huge slabs of meat. It's awesome. Do you find boosting lows/low mids helps that sound, or do you reduce the resonant frequencies to allow headroom for the attack to come through? I can't seem to get the character.

Thanks, I've never heard it described like that but it's weirdly accurate to what I aim for with my kicks. I think it's more a case of not scooping too much low mid out of the kick and using heavy compression both in series and parallel.
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Liked by: Emmanuel Radin Ton Nathapol J

In that clip you posted of your Tama drums it sounds like there's a lot of room ambience? Is that how much you normally have on your drums in the mix, and if so how do you deal with the cymbals being out of control in the ambience mics?

It's difficult to tell without the rest of the mix in place, but yes usually I have plenty of room mic in the drum mix - a lot of it gets eaten up by the other instruments anyway, and I like the rawer sound you get that way and the energy it imparts as a result, as opposed to very clean/controlled drums which often sounds less interesting to me. For dealing with cymbals you need a decent drum room or at least some good distance from the kit, point the mics at a thin absorptive surface or put them behind a gobo if you can. Even if you don't have those options, an aggressive low pass or well-placed EQ cut can take a lot of cymbal out of the room mics and leave you with nice beefy sounding drums.
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I know you love producers like Jay Ruston, Forrester Savell etc, but what about younger/less known guys?

Sure, I love hearing what Jordan Valeriote, Taylor Larson, Ermin Hamidovic, Sam Pura, Aaron Smith (no particular order) and plenty of others are doing.
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Liked by: Emmanuel Radin Robert Percy Kyle Collins

Favourite mics on snare top and bottom? Assuming good drum/tuning/drummer etc of course

57 on top always works. I've had good results with a 441 there too, plus the 441 is easily my snare-side mic of choice. I'm keen to try a Telefunken M80 on top after hearing endless positive remarks about it.
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Liked by: Ton Nathapol Emmanuel Radin

Hey Adam! I'm looking to get a new pair of pickups, I like tones like the ones on Converge's Axe To Fall, etc, somewhat 'coarse' sounding. Always preferred that raw sound over the super tight, polished sound most modern releases have. Which ones would you recommend?

To be honest that's far more to do with how those records are engineered and mixed than the pickup used or even the amp/cab setup. However, I'd recommend sticking to fairly traditional humbuckers (PAF-style basically, something like the Riff Raff or Black Dog from the BKP range), or even more appropriate might be a P90, which will give a nice raw and aggressive sound you can't get from any other pickup.
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Liked by: Emmanuel Radin john

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