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Posts posted by TeeJay410
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6 minutes ago, James Bond said:
This is definitely the best the drums have ever sounded on a UYI recording. The mix is fantastic. Overall though, not much different in terms of orchestration - and that's a good thing I think. It's the same iconic song with a bit more clarity and some parts stand out more as a result. I dig it.
I don't think so. The vocals have just been brought more forward in the mix during the outro so bits that previously sat lower in the mix are a lot more audible now. I think the vocals are a touch louder throughout the song as a whole than they ever were - likely to just make them stand above the orchestra if I had to guess.
There’s also just a lot less reverb and whatever wet fx on the vocal so it sits much further forward. They also reintroduced a lot more body in the vocal so again sits more forward and center. Just a lot more low and low-mid stuff than the OG mix. Using real strings or better string samples has made a huge difference too
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I think the outro is rad. A lot of bands would be too afraid for a remix to this degree for a rerelease if an iconic song, but my god this is the best GNR has ever sounded.
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For those with qualms about the outro, a lot of it is just a massive headroom problem with 8,000 things going on. It would sound weird if there was a drop in volume in the outro to make sure everything is crystal clear, so you have to start making choices as far as what to feature. In this context, it’s a rock song; but also a pop song. Vocal is god. Then drums. The guitar leaf is almost a vocal here, a counter melody, but then there are also like 500 vocals. AND THEN you have the new live strings, which are taking up more of the frequency range than whatever keyboard synth Axl used. And then just modern sensibilities wants more low end in general, which takes up more headroom and is another challenge dealing with compression, So yeah it’s a challenge. I thought it sounded cool.
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I came here literally to compliment the mix. Holy fuck, if the rest of it sounds like this, wow. Sounds like they replaced some of the string synths with actual strings or better string samples, maybe added parts. The bass is much deeper, same for the kick, just more sub information that used to get cut out back in the day. They stripped a lot of the stuff of the day that can make it sound dated. Axl’s vocal is so much more full. Oh my good I could go on.
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I mean, it’s very clearly a pattern of consistent awful behavior by them, James in particular. It is curious though since he has been working with musicians of color all throughout his career. But if we know anything of racism is that it doesn’t have to be a consistent worldview because it’s an inherently irrational and stupid one.
I won’t defend Axl on one in a million for a second. It’s evident Axl no longer will defend Axl on it by not including it in the box set. But it is interesting to note the number of rappers at the time who did jump to Axl’s defense. Many of them personally knew and partied and shared stages with Axl. The same cannot be said of Hetfield.
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1 minute ago, DTJ80 said:
As far as I know, Atmos mixes also have the standard 5.1 option as did the AFD disc.
I get your point regarding new tech though.
Yeah, if you don’t have headphones or the speaker set up you can still listen and it won’t be weird, but you won’t get the intended you’re standing in the middle of the room impact.
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I try not to be reflexively skeptical of things that are new, but I am part of a mixing academy and it had a presentation on Dolby atmos, and it just screamed 3D TV to me. It’s undoubtedly cool, but it’s hard to see the average consumer caring enough to buy special speaker systems or headphones to really get its effect, like how the major barrier to 3D TVS was that everyone would have to buy a new tv and wear glasses. And there’s the similar sort of corporate push for it, like how movie studios kept making 3D versions of movies or movies that solely existed to show off the 3D technology. I don’t know that Dolby atmos mixes make a meaningful enough difference to the listening experience to average people for it to mean anything to anyone other than audio nerds, and the companies who spent millions of dollars investing in it.
As far as the GNR of it all, it’s not that recordings need to be *made* for atmos, but retrofitting a 30 year old album for it is a challenge. You’re used to hearing it is a certain way and space for 30 years, especially when you wrote it, I’m sure it’s weird to heard the Dolby Atmos version. That said Axl was always ahead of the curve on being open to new styles, wasn’t UYI originally mixed with Q Sound? So idk.
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The lyrics are outright racist and homophobic and it’s no accident that it was left out of the box set.
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On 2/11/2022 at 8:40 AM, ZoSoRose said:
I’m the only one but I think HS sounds great. The mix is loud and clear; I can hear every instrument clearly
Idk, the guitars are super mid forward and nasally, boxy/honky. Drums sound a little weird, the kick is a bit metal clicky which doesn’t quite fit. Axl’s vocal is a bit buried. However, I got damn adore the bass tone.
I would love for them to work with Eric Valentine. He did Apocalyptic Love and I think that is the best sounding record Slash has been a part of post-2000. Just big, powerful, but natural.
On 2/11/2022 at 10:27 AM, Majestic Beast said:Should try Sneap from Judas Priest for the production,clean,modern,heavy as should be.Or Bob Erzin maybe.
Sneap is an absolute GOD. Invented the sound of modern heavy music. 70% of big time metal mixers these days trace back to the Sneap forum.
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Probably 75% of the reason I ever listened to Slash featuring the Dad Rocks was because the production was fucking killer. But man, this record is rough. It’s not the fact that it was recorded live, but the mix is just rough. Muddy, drums are largely lost aside from some paper grocery bag flaps. Guitars are harsh. Vocals buried (some might find this appealing). I get that this is a guitarist driven album, so guitars will be featured. But yeah. I’m not opposed to the live studio recording in theory, but this mix/master on 4 was rough.
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21 hours ago, riot said:
All true!
I still prefer generic dj's this i love solo over slash noodling anything over this I love. I find it sad that nobody decided to just do robin's perfect solo note for note
Idk, DJ’s TiL solo is the exact thing of his I hated. It wasn’t bad enough he was douchey, the dude just isn’t a good enough lead guitar player. He just played so boring but out of tune and couldn’t hit a bend to save his life. His tone was awful. I literally have nothing nice to say about him as a lead guitarist.
I remember when we talked about Robin being sloppy, and he was! But it was from a place of passion and style, not inability. And Finck wasn’t some technical marvel, either. Idk. I just never got the Ashba thing and never will.
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DJ Ashba. Accusing someone of cutting out the cool factor in the band. In other news, a kettle is outraged after a pot mistook its own reflection on the kettle as the kettle’s actual color, and called it black.
15 hours ago, -W.A.R- said:Bucket is an amazing guitar player but it is true that he didn't fit the image of GNR (nor did Finck early on when he had that whatever-the-fuck-you-call-it haircut).
However the irony here is that the DJ era was even less "cool" than the freak show era.
The freak show era was at least interesting. The Ashba years were just a sad Vegas dinosaur act.
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Just in general, the two rhythm guitars playing different things but still being cohesive on AFD is such a cool thing that a lot of producers and writers wouldn’t even try these days. Everything is just “two takes, hard pan L and R” these days.
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It mystifies me to this day why DJ was ever in the band at all.
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I will die on Riad hill. I don’t understand the hate.
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1 minute ago, Blackstar said:
Funnily enough, GnR fired Bob Clearmountain in 1991 because he used drum samples on the UYI mixes.
But a lifetime has passed since then.
Which is ironic for all the anti-compression people, because, do you know what you need to do to get a snare drum to sound like it does on UYI if you aren't using samples? My god slam those things -infinity gain reduction.
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Just now, WVsax27 said:
I was listening to an interview with Mitch Allan (currently a producer, former one hit wonder with SR-71) and he mentioned that he doesn't even keep real drums in his studio atm because no one is using them.
Yeah, John Feldmann has live drums but people who work in his studio say unless it's Travis Barker, the drums are Superior Drummer.
To make a competitive commercial mix, you almost *have* to have drum samples either supporting or replacing. Your drummer has to be absolutely world class to get away with not doing it these days, guys who hit 127 midi velocity irl. The number of those in existence are small, and somehow appear to all be in prog metal bands or gospel. Otherwise, you are getting sample supplemented or replaced, because your mix will sound weird, thin, and dated. And this has been the case for 30 years. There are analog units used in the 90's that contain shell samples used on classic hit records. This is far from new.
The amount of things that are programmed these days would astound you. The bass modelers these days are even incredible (personally love Submission Audio's punkbass and djinnbass). It's just what it is, and if your heroes had all this stuff back then, ways to make their mixes even better and hit harder, they would do it, too.
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There is nothing more amusing than people who know nothing about mixing or producing complaining about things being copied and pasted or things being compressed or drum replacement etc. THE SOLO TO STAIRWAY TO HEAVEN WAS CUT AND PASTED TOGETHER FROM DIFFERENT TAKES. DRUMS HAVE HAD SAMPLE REPLACEMENT/SUPPORT SINCE THE 80'S. Loudness/compression wars started in the late 90's, but really with the advent of the CD. Your favorite records contain all the things you are whining about.
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9 minutes ago, Fozzie Bear said:
Dude they ALL SOUND unfinished. Does nobody own AFD or UYI? Go listen to a properly mixed GN'R SONG and then listen to this stuff. It's a cut and paste hack job of a song that's 22 years old. This is not a band that got in the studio and made this song...it's Axl telling them "whatever, do something with this..."
My guy, if you knew how music has been recorded over the past 20-30 years, you would be very disappointed.
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Just now, adamsapple said:
Fixed it for ya.
Oh, man. My guy. The feel on it, I get it, word, but best drummer? Yikes.
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Just now, Malcolm Malcolm said:
How can I be Josh AND Slash? I'm just a fan of great musicians. You're all too cynical sometimes.
It was a playful joke, my friend. Love Josh, too.
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Just now, ZoSoRose said:
I’ll have to try them. I use a Helix and have some Ownhammers and other random IRs
The only tough thing about the Mercurial is that it is BRUTAL on CPU. I try to get the tone quick and print with it when tracking/mixing so I'm not having multiple instances of it in a session. But the GGD zilla cabs are great, too, covers all sorts of ground.
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Just now, Malcolm Malcolm said:
I don't know who is on this, and I thought Brain's drums on Absurd were great, but it's hard to beat Josh Freese. He just tears into everything with such energy and good taste. There's a reason he's probably now the world's best session drummer.
Yo, we found Josh's burner account
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On 9/19/2021 at 4:03 PM, ZoSoRose said:
That’d be great! I’d love some slash cabs. All my IRs are more greenbacks, I need some good V30s
You ever mess with GGD's Zilla cabs? IT's based off of Zilla cabinets, obviously, but they include v30's and differet mics that if you use the 4x12 they have in there, with the v 30's, and then just copy the mics from the Eric Valentine video on recording Slash, you can get pretty darn close. Pair it with the Mercuriall Spark amp sim and you're about there. I swear the Mercuriall is the absolute best emulation of the Slash signature amp, even better than the officially licensed one from amplitube.
UYI boxset will be released 11/11/22. In Slash We Trust. * Now available *
in GUNS N' ROSES - DISCUSSION & NEWS
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This is just so much better. It’s a crime if we don’t get the rest of the album with this treatment. Steve crushed it.