Scorpion Venom Poison 8000

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This track was recorded at Hocking College for the Mus 1150 class.

Mixed and Mastered by: Ethan Wehrly

Neal Schmit- Drums
Grant Smith- Electric Guitar
Tyler W- Acoustic Guitar
Garret Deal- Bass

All We Need Is 60 Seconds

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Made for Hocking College School of Music

Musicians:
Neal Schmitt on Drums
Garrett Deal on Bass Guitar
Grant Smith on Electric Guitar
Daiqwon Deal aka. Ghost on Vocals
Ignacio Serrano-Vallejo on Piano
Tyler Parks on Acoustic Guitar

Group 1 - AB Song

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Bass Guitar - Garrett Deal
Acoustic Guitar - Tyler Parks
Electric Guitar - Grant
Drums - Neal Schmitt
Vocals - Ghostt

Recording Class Project

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Drums - Gianni M.
Guitar - Chris J.
Vocals - Cortez J. & Saleh A.
Bass - Ethan W.

Bass Drum- The bass drum first has a hi-pass filter applied to take out the incredibly low bass frequencies that would muddy up the sound. Next is a 4 band EQ. After looking at the blue cat frequency analyst, I realized that the bass had a lot of punch and drive right at and under 100hz. Seeing this I applied a narrow boost about +5db to really bring that part out of the drum that I liked. Next using the shift+control feature I found that there was a thin sound at about 200hz that I absolutely hated so applied a fairly wide maximum cut at this frequency. Next I applied some compression with the thump kick preset in the LD3 compressor. After finding a threshold that sounded pleasing to me I set the release time to 43 ms to comply with the rhythm of the kick.


Snare- The fist thing for the snare was to apply a hi-pass filter as well to push out most of the bass bleed. This filter had a much softer knee and started cut off at around 500 Hz. Next was the four band EQ to try and brighten up the snare a little to get it to sound more like the A/B tune. First I made a cut at 9.06kHz to cancel out some of the hi hat and other cymbal bleed on the snare mic. Then, I found very thin and unpleasing sounds at about 678.0 Hz and 170 Hz so made cuts there as well. The snare sounded a little brighter that I would have liked but I think its what it needed to cut through the mix. Next I use the bombfactory on the snare to give it a little more punch. I went with the subtle ratio of four with fast attack and the release at about 6. The input and output were at about 1 and 2 o’clock.

Overheads- In the overheads I thought the snare was really prominent, using the frequency analyst I dialed in the snare at about 215.0 Hz so applied a large cut there. I also applied a cut at extreme high end of the cymbals at about 8.0 kHz. Next I added some compression using just about the same set up I had on the snare, subtle 4 to 1 ratio with fast attack and release around 6 only this time I found that the standard 10 and 2 sounded pleasing enough to be kept that way.

PZM- For the PZM I just double my EQ settings from the overheads finding that I needed to make the same cut at about 215Hz for the snare and the hi end cut for the brightness of the cymbals. I then put this in the bombfactory and slammed the input all the way up, the ratio to 20 with the attack at 1 and release at 7. This super punchy drum sound mixed subtly with the rest of the kit gives it a raw almost live aspect. Honestly it sounds like somebody recorded these drums in their garage which used in moderation can be a really cool effect.

Bass- For the bass sound I really wasn’t pleased with the tone of the Mic on the amp, at least not for this song. I just decided to use my god privilege and scrapped it. For the Bass DI I used a 4 band EQ to make a massive, fairly wide cut right under 100Hz to make sure that the bass drum would punch through and not get lost in the mix with the bass guitar. I also I applied a cut in the upper frequencies around 3.8kHz just to eliminate the thin wimpy bass tone.

Guitar- I really liked the guitar tone for the song as is, I think the telecaster did a wonderful job. I did however apply a hi-pass filter to keep the low end clear of any unnecessary sound. I also applied a small boost to both guitars at about 970Hz just to get them shining through in the mid range.

Cortez- For Cortez’s vocal track I started with a Hi-pass filter to get all the manliness out of his voice, no just kidding but when bypassed you can hear some deep pops in the verse that really take away from his rhythm and flow. I then used the 4 band EQ to cut out some more of the really deep bass and used the frequency analyst to get make a cut at 7.75kHz to get rid of some of the sibilant sounds going on. Then was the compressor I used the bombfactory with standard 10 & 2 setting. I used the ratio at the lowest, 4:1 with a fast attack and the release right about in the middle.

Saleh- For Saleh’s vocals I applied the same hi-pass filter for the same reason. In the 4 band EQ I only applied a serious cut at 3.8kHz in attempts to get rid of the sibilants in his track. I used the same bombfactory setting for his track as I did on Cortez.

Dverb 1- For the first Dverb I chose the Room1 setting with large size and a decay time based of a reoccurring 669 ms I kept finding in the bass drum track. This was the reverb I routed the snare and electric guitars too.

Dverb 2- For the second Dverb that I used for vocals I chose the Ambient setting with a decay time of 280ms based on the rhythm of the bass drum. I also added a little bit of pre delay to this verb.

Sodoku Final Mix

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My Mix of MUS 1150 Group 2's Song

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