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Also which drum forge product did you purchase that has the ludwig snare drum sound

@@anatoliikovalenko2109 thanks for the comment. No I don’t think so, especially for this genre and for these vocals in particular. Some singers definitely sound better with less but I don’t think in this case the compression isn’t adding something to the performance instead of taking away from it. But of course, if this isn’t the sound you’re going for, and you need things to sound more dynamic and natural then definitely don’t use as much compression. But you’re right to have those questions. Compressing just for the sake of it wouldn’t make much sense - only if the vocal/ song needs it.

I think in the mixer window, you can control click the aux tracks and select ‘create track’ then it should show up in the arrange window I believe

Haha thanks dude!!

I think you can! I believe with the Nolly, on the downloads page of the Neural website you can grab a past release: neuraldsp.com/downloads

I certainly will! I haven’t worked on any drums for artists like this just yet as they tend to be vocalists who come to me with pre mixed beats that’s just need vocals doing. I might make my own but I’ll put this video on my list! Thank you!

@ thank you so much definitely will be on the look out for this✌🏼

Thanks dude! Yeah I love the ML soundlabs orange rockerverb but nothing beats the Nolly for me. I think for me it still sounds great with less gain which gives me more clarity and the energy is still there. It just has a really nice tone to it too and you get it quite bright without it getting harsh or too thin. Plus the mids are nice so you don’t lose the guitars too much in the mix. There’s also just something about the Neural DSP stuff that sounds kinda real. Just all my opinion of course but I would definitely give it a try for free. Although my advice would be to download an older version of Nolly before they released the Nolly X. Hope that helps!

I suppose it depends on your workflow in my mind? I guess I do a similar thing but instead of having the output of the amp sim track record into a new audio track, I just having software monitoring turned on and just record the DI with the amp sim. With Logic you can freeze tracks so if I start to run out of CPU I freeze the guitar track which I can then unfreeze if I do need to go back and edit the tone. I know a lot of mixers will say it’s better to commit to your tones early on and I do understand that as it stops you getting caught in a perpetual tweaking cycle but I like to automate things with the tone (for example some palm muted sound better if I nudge the gain up on the tube screamer pedal) so I like to be able to tinker. Not sure if Ableton has the same feature however?

Thank you! That’s amazing to hear!

Dudes it’s a great song. Gonna be on replay for a while for sure!

Likewise! And I love the song!

Btw do you ever Sidechain the Kick to bass? or is that in another video down the line?

Awesome dude! Glad the videos have been helpful! What’s your band called?

Yeah I have one planned for this. I always dead against it for so long but over the past year or so I’ve been using it in pretty much every mix!

@@TerryBeckleyRecording We're called ninebanks bro. ✌️

@@TerryBeckleyRecording Even though I'm using studio one its quite easy to get used to the interface, but yeah im just working through your Emo guitar video atm, very good mam.

Ah thanks dude! Yeah I always struggle with UI’s that are new to me!

Thanks dude! It’s good to know stuff like that! I’ll definitely end with that in my videos from now on

I used to bus the left and right guitar tracks together and then do the processing on the bus yeah. Now I just convert the panned mono tracks into 1 stereo track but either way it would help me dial in a tone in stereo which I prefer. I just like less tracks in my project.

That’s amazing! Thank you! I hope you’re killing it with your music!

I would like to know this as well!

Sorry for the late reply! But I suppose it depends with the GGD panning. I keep the way the cymbals are panned I suppose, although I usually move the hi hat in a bit as it can sound a little too isolated panned as far out to the left as it is in GGD. Tom wise it’s probably 50-50. Sometimes having the high and low Tom panned out hard L and R can sound epic but sometimes it sounds a little disjointed. Most of the time I keep the panning as it sounds more cohesive with the overheads/ rooms in my opinion. Hope that helps!

@@TerryBeckleyRecordingvery helpful! ❤

How did this go in the end dude? Did the Nolly amp improve things for you?

@TerryBeckleyRecording it has helped thicken the sound for sure. I'm still struggling with my mixes tho. I'm mixing through headphones right now because that's all I have at the moment and they are flat response, which I honestly feel makes things more difficult at times for mixing my low end with the bass and kick. My drummer of my other band just recommended some new headphones yesterday that he said are getting really good reviews from people so I'm going to check those out.

Thank you dude! Appreciate it! Really glad the videos were helpful! And yeah 100% the results a mixer can get you when your tracks are on point are so different when things need to be ‘hidden’ in a mix. Hopefully you’re putting out some bangers now!

Thanks dude! I’m getting back to it so I’ll make sure to make a video on this!

Thank you dude! Really appreciate it! I put the bass up full so that I can be more in control of the low end filter with an EQ plugin later in the chain. But it’s definitely not essential, if you feel happy with the low end of the tone without doing that then I’d say stick with that. Sometimes I find that doing this also helps the tone feel more full but not always. Also I’ve had some DI’s that are a little muddy or bassy when completely dry so it definitely doesn’t work in those situations. Hope that helps!

Yeah I compress the bass DI first but that’s not necessarily essential. I just prefer a slightly more even DI than what you get from the VST

@@TerryBeckleyRecording what are your thoughts on 🎤 a cab... and also taking a DI from your amp and then adding a plug-in parallax to that?

In there mixing videos there are a lot! But you wouldn’t have to use them, it’s mostly just 3rd party EQs and compressors which you’ll have stock version of I would assume

@@TerryBeckleyRecording ok I am getting a insurance check soon thinking about trying some of your tutorials, that's what always happens though is I try to do mix tutorials and it's all third party plug ins and mine never sounds as good as there's . But ok I'm gonna make a note of your channel so when I get the insurance check I can come back here. Thanks for answering.

@@TerryBeckleyRecording oh and the other reason I choose you is because you're also using logic like me

Thank you 🙏🏻

Do you use Pro Tools? I actually first saw this kind of thing with the Lo Fi plugin stock plugin in Pro Tools

It’s a unique plugin for sure! I actually get the most use out of it by taking an impulse of my new strings when first starting a recording session

Thanks dude!

Amazing dude! I hope the album is sounding great! I saw engineers set the tube screamer that way in studios but I also saw it on Jordan Valeriote’s (Hardcore Music Studio) recording course

Hey Terry, sorry to trouble you again! Still using Oracle with great success, but my DAW Reaper (or the plugin itself?) will not work if I sum the two panned guitars to a buss and slap the plugin on that (to save CPU). I have since read that some plugins won't work with stereo inputs. I actually have 4 instances of the plugin running (2 parts both in stereo) and would obviously rather just use 2, one for rhythms summed and one for octaves/riffs summed. Any thoughts or advice? Thank you. PS Do you ever use a completely different distorted tone for the second guitar track in each part, just to fill in a different sonic space?

Thank you 🙏🏻

No not at all, I do the same thing but I join the 2 hard panned mono tracks into a stereo track so that I can dial the guitar tone in stereo but that’s purely because I find it hard to get inspired when dialling in a tone on one track then copying it over. I suppose I could just route them to a bus and dial in the tone there but I’m lazy! I’ve also need in pro tools that you can link 2 tracks together and affect them both at the same time but I never worked out how to do that in logic!

@@TerryBeckleyRecording cool, that's basically what I do but I pull them into a bus track. Thanks for the input!

Subscribed 🤘

Thanks so much dude!

Thanks dude!!