@NollyPeriphery

Adam Nolly Getgood

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What reverb and parallel compression do you use on drums? If you use either that is

Currently I'm enjoying the HOFA IQ reverb, and the Softube FET Compressor for parallel compression. I like to change things up regularly though, so it's possible the next thing I do won't feature either!
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Liked by: Eric Emery Thomas Kay Harkaran

Who reamped the guitars on the first Red Seas Fire EP? I remember you outsourced for that but I don't know who to.

That was Eduardo Apolonia - https://www.facebook.com/eapolonia. I'd highly recommend his services, he has the most amazing amp/cab/mic/outboard collection I've ever come across and is a lovely guy to work with as well.
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Liked by: Harkaran dal

Your mix of Bulb's new version of Breeze is insane. What mics did you use on kick and snare? Also the bass tone is amazing, can you give us any info on how it was recorded and mixed?

Thanks! There was an SM57 on snare, kick had a Beta 91A inside, an ATM25 just inside the port, and an M147 outside.
For bass, it was my Dingwall recorded direct through the B7K into a Palmer Tube DI. I used a combination of the Logic Bass Amp Designer plugin and one of my own cab IRs to get the "amp" sound.
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Liked by: Mike DeProspo Clay Lindstrom Luca Moqi Ryan luiz ~Sora Robert Percy Jesse miller dal Mitch Baker

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How did you go from recording at home to working with clients in proper studios? I want to learn to record drums and everything properly but I'm worried about wasting a band's time and money because I don't have experience doing it.

I know that feeling, the truth is you just have to take the plunge and book time in at a local studio. Have the house engineer on hand and let him get things set up after being clear about the kind of sound you're after - he or she is likely to have a lot of experience working at the studio and will know the kind of setup that works for most bands that come in. Be upfront with the band about it being out of your comfort zone, perhaps even offer to reduce your rate if that would make either you or the client happier about it.
Every session will have a steep learning curve; I guarantee there will be things you wish you had done differently after every single one, but that's normal, and learning to work around the flaws will greatly improve your problem-solving skills. The means by which you overcome the flaws will also give every recording a unique character that you won't get by simply working with samples, amp sims/impulses, programmed instruments, etc that you can swap with impunity at any stage of the process in a quest for subjective "perfection". More importantly, the feeling when it goes well and you capture the essence of the music is the great joy of recording. Go for it and have fun!

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Liked by: Pavel Vanegas F.Coutts [666] Heavy Metal. Conor McGowan Sam Butterfield Mike DeProspo ciro luna ~Sora Don Encarnacion Spencer Schmid Nicolai Maverick Maybituin

I'm reskinning my drum kit, I want to try Evans for the first time. I like my kick to have lots of attack, big sounding toms and powerful snare without much ring. I know you like Evans, which heads would you recommend I get?

EQ4 batter/EMAD reso for kick, G14s over G1s on toms (G12 batter on rack toms can be great too), HD Dry snare batter, Hazy 300 for reso.
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Liked by: Aaron White Andreas Menicou Raul Marques Mitch Baker

What are your thoughts on creambacks compared to greenbacks?

I think both the Celestion G12M and G12H Creambacks are both excellent speakers. They have the rich midrange and smoothness of the traditional Greenback models but can handle a lot more low end without bottoming out. A cab with G12H Creambacks alongside V30s is my favourite speaker combination at the moment.
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Liked by: magnusvonkilgore Harkaran Jesse miller Luciano Díaz

I heard you say you used a Neumann KM184 on the guitar cab in that video of the PRS Archon that Misha posted on youtube today http://youtu.be/XHirL_deLWc, I haven't heard of people using that for metal before, do you use it often or are you just experimenting?

I've used KM184s or similar (Gefells/Pelusos etc) on guitar cabs for the last few sessions I've done, but always as an auxiliary to an SM57. They have a very natural, unhyped sound with a lot more low- and high-end extension that blends nicely under the 57, adding a lot of depth and a smooth airy character without conflicting in the important presence frequency range.
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Liked by: Aaron White Roberto Salgado Harkaran

Do you always set up overheads equidistant from the snare, like in the picture from the AAL drum recording? Do you think there is a large benefit to doing it that way over using XY or ORTF stereo micing techniques?

I've used that method on almost all my drum sessions, but to be honest I am rethinking whether it's truly necessary to ensure equal distance from snare when I'm using the overhead mics mainly as cymbal mics rather than building an image of the whole kit, typically filtering out most of the low end/low mids and using the close mics for most of the sound of the shells. There's no doubt that if I wanted to use the overhead tracks for the bulk of the drum sound, I would want to get the snare central in the stereo image, and for that the XY or ORTF methods could be very appropriate. For the drum sounds I like to achieve, the width and separation of a spaced pair is very desirable, and I'll be experimenting with placing the mics equal distanced above the cymbals rather than measuring from the snare to see if there is any drawback for my mix-style.

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Liked by: Pavel Vanegas Conor McGowan Denis Landry Jeremy Locke Mitch Baker Alex Earnhardt Harkaran

So I have my order placed to get an NG-2. A question I have is if the pickups will come wired in series with one another, or will I have to rewire it to get them in series like you run them? Thanks Nolly!

The stock 4-way pickup selector allows you to choose between bridge, neck, then both series and parallel combinations of the two, so you'll be good to go without any modification. I hope you enjoy the bass as much as I do!
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Liked by: Blake Bagnell Eric Budnick Yaresh-Bartholomeus Soekhlal Robert Percy Polar Beer Harkaran

What are your favourite mics to use on bass cabs?

Usually I'll have a dynamic like an Electrovoice RE20, Heil PR30, Audio Technica ATM25 or Sennheiser MD421, paired with a beefy sounding large diaphragm condensor along the lines of a U47FET. Dynamic mic-wise, anything that's great on a floor tom tends to be a good choice on bass cab in my experience - I guess it's a similar frequency range you're looking to capture/enhance on both instruments.
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Liked by: Pavel Vanegas R Joshua Durham Harkaran Emmanuel Radin

I've seen you recording both Evans and Remo heads in studio pics, do you have a preference? What are your favourite heads around the kit when recording?

These days I prefer Evans - the Level 360 technology has made a vast improvement to how quickly the heads tune up and settle compared to any others I've tried, which is a large benefit in a studio situation. I find Evans heads tend to have a more fundamental-focussed sound that records very well.
I've been doing a lot of experimenting with various heads on the drums I have at home - I've found the EQ4 to be my favourite kick head all around, but the GMAD is very cool too for a thicker/darker sound. On toms the G14s over G1s sound great to me, both the coated and clear versions are excellent on the batter side, to my ear. I recently did a session with Black Chromes on toms - they sounded massive. My favourite for snare is changeable depending on the drum and tuning but my go-to's are the G14 coated, HD Dry or EC1 Reverse Dot. I do have a lot of love for the Remo Emperor and CS Reverse Dot for snare too.

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Liked by: Conor McGowan Keshav Dhar Luciano Díaz Harkaran

I saw on instagram that you have a Two Notes Reload? Or were you just trying it? What did you think?

I've been trying it out, it's a really awesome device actually! I'm mainly using it as a DI/reamper but the attenuator functionality seals the deal for me - it really sounds amazing even when you're attenuating very severely, unlike other attenuators I've tried. Their Wall Of Sound plugin is very comprehensive too but I haven't really spent too long with it just yet.
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Liked by: Aaron White Robert Sundell Clay Lindstrom Harkaran

How important do you think expensive mics (like tube condensers etc) are to the quality of a recording?

While there are certainly noticeable differences between most mics out there, in a lot of cases when compared in blind tests it becomes extremely difficult to tell an expensive mic from a good cheaper one (check out SoundPureStudios blind mic shootouts on youtube for example: https://www.youtube.com/user/soundpurestudios/videos).
As ever, in my opinion it holds true that a good engineer will be able to get great results with modest gear, where a lesser engineer will struggle to achieve something good with even the most expensive and well-reputed gear. I also like to remind myself that 99.99% of listeners don't know or care what gear was used to make the recording they're hearing, so ideally the only factors worth considering when choosing a mic should be whether it sounds good, is reliable, and whether it is physically appropriate for the application (size, polar pattern etc).

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Liked by: Conor McGowan A Flash Flood Of Levi Salvador Ruiz Ethan Lichen LI Randy Massia Yaresh-Bartholomeus Soekhlal letranger Dans Huang Viggo Simon Paxton

Hey Nolly, I currently own an Ibanez S guitar for about 500€ loaded with Juggernauts. Should I buy an Axe FX next or a better guitar and the Line 6 Pod 500x? Have a good day!

JonasCorzilius’s Profile PhotoJonas Corzilius
Hi Jonas, I can't make that decision for you. Apologies in advance for the sidetrack, but to me the most important factor in an instrument is not its cost or provenance, but whether it suits you as a player and musician. Does your current guitar sound the way you want it to? Does it feel comfortable to play? Most importantly does it inspire you to pick it up, play, be creative and feel the joy of making music? If your answers are yes then keep it, and apply the same philosophy to the rest of your gear.
It might sound hypocritical coming from someone that is lucky enough to own some rare and valuable instruments, but every single one of the guitars and basses I own ticks all of those boxes for me. Over time I've owned many instruments and pieces of gear that haven't done that for me regardless of their cost and reputation, and traded them on to find something that does even if it's of lower value.

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Liked by: Angel C. Ito Gavin Keith Kennedy Dave Conor McGowan Sebastian Jonas Blomqvist Connor Hansen Seth Gilmore Aaron White Salvador Ruiz

What brige pickup would you reccomend to someone who has a les paul and really loves the Sound of Adam Jones from TOOL and Joe Duplantier from GoJira ?

Bare Knuckle Nailbomb or Black Dog
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Liked by: greeenchinchilla Harkaran

The instagram picture of your distressor, do you really use 3:1 ratio on drums? Not more aggressive?

Yeah, Sam Pura at Panda Studios gave me that tip for the distressor - low ratio and hit it hard for the snare and kick. Sam's drums are always incredible, and trying it on my own tracks I'm really liking how it sounds.
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Liked by: magnusvonkilgore Conor McGowan Aaron White Dude Mike DeProspo

The big three - SSL, Neve, API. Which is your favourite?

At this point I have a lot more experience tracking on an SSL than the other two. In a perfect world I would track through Neve or API for the more "broad strokes" approach to EQ, then mix on an SSL where you can get a lot more detailed.
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Liked by: Harkaran

Are there any plugins or tricks you've learned that changed the way you mixed, if so what?

A pretty unassuming plugin that changed a lot for me is Trackspacer by Wavesfactory (not Waves) - http://www.wavesfactory.com/trackspacer.php. I use it all over my mixes, like for killing ugly bleed in drum tracks (snare in tom tracks for example), pocketing bass and kick, ducking guitars under vocals etc. It really reduces the amount of savage EQing or gating I need to do, which is awesome. The secret's out!!
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Liked by: magnusvonkilgore Duncan Metcalfe Jonas Magnussen Nikita Biloshytskyi Aaron White Clay Lindstrom Garrett TheInsurgent Cory Phillips Harkaran

You mentioned in the past you want to have a 500-series rack. What would you put in, say, a 6-space one?

Definitely a pair of API 550bs, a pair of SSL E-series Dynamics strips, then a couple of different "character" compressors like the J-Labs JLA-3 and/or Lindell 7X-500. There's a load of others I'd be interested in too, but that would be a great start!
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Liked by: Aaron White Harkaran Dude

That snare sample you posted is so fat and punchy, what heads/mics/pres did you use? Or just tell me everything hahaha!!

Thank you, it's a regular Remo Ambassador (no damping/muffling), with an Evans Hazy 300 snare side. Shure Unidyne 545 on top, Sontronics STC-1 underneath, both running into Vintech preamps. The ambience is another sample I took from a session at Monnow Valley studio - stereo pair of U87s in the studio's famous back room/chamber.
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Liked by: Conor McGowan Aaron White Exzor Latiegue Harkaran Dude Mykle Lara

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