Discussion in 'Linkin Park Chat' started by Arachnids, Apr 19, 2014.
Those are really good imo, but you need Massive however.
I think they used Access Virus TI Polar on that one.
I love the drum samples in "Watching as I fall". They have that gritty/dirty drum sound Mike likes so much. I may have asked before, but does anyone have recommendations for samples like that or effects you can put on drums to get that texture?
I have no idea honestly how he gets that sound for his drums. Sounds like some light tube distortion.
Andy Wallace added the bass chorus in the mixing process. He used an Yamaha SPX90 and applied it's preset number 15 to the amped bass track.
As I stated here, the guy in the "What Makes Numb a Great Song" video is full of shit. If there's chorus on the bass track on the studio recording, why has Phoenix never had any kind of chorus effect in his live rig to replicate it?
Plus, wrong chorus riff.
I don’t want him to make one for Somewhere I Belong. I bet you he’ll play it half-step down with the octaves on the A and G strings.
I just read your post in the other thread. I'm not going to discuss this here, but you may wanna take a look into a different vid by this guy where he discusses Andy Wallace's style in general. It's a little more in-depth. (E.g. he explains that the drums are half-recorded-half-programmed, as you mentioned.) I am 100% certain he does use chorus on the bass, and I'm 75% certain it's the SPX90. His bass sounds exactly the same on almost every record he ever mixed, and as I happen to have a SPX90 I had plenty of opportunity to try. However, it's not the Symphonic-setting, it's maybe based on the preset and then tweaked.
I don't know why they didn't use a chorus pedal live. My best guess is they didn't even know/care what exactly Andy was doing. The recording process was already finished (and guided by Don Gilmore) when Andy layed a finger on it.
When a customer delivers their stems for me to mix, I don't exactly care what their signal chain was. If the bass is mono and I decide to add chorus, I do so. That does not neccesarily mean they throw away their signal chain and start using chorused bass on stage from now on. Mixing a stuido record does require different treatment than a live setup.
PS: I don't mean to be disrespectful. You clearly know your stuff way better than I do. But I still think you're wrong about the bass chorus.
This might be the incorrect place for this, but I'd like to share this file with you. It's a sample vinyl of my band (a Linkin Park ripoff), a little similiar to Joe Hahns Tasty Gas Station Vinyl. You can use those samples for your own stuff without any restrictions. Giving credits is also not required.
Firstly, thanks for sharing your samples, sound really good and more of this stuff would be appreciated!
My actual question: What is that high, ''bubbly''-like sound (I really don't know how to describe it ) in With You, That you can hear especially good in the beginning at 0:10-0:11 and at 2:30 its that pure sound I'm looking for.
Any ideas what that could be?
Thanks for your help.
EDIT: Forgot songname xD: With You, mentioned above now as well ^^
The nobody can save me into.
I have to know how Mike and the team made the vocal sound so clean during pitch shifting them i
know it been a asked before. Can we try to recreate it? Its my main goal right now..
I think it's been said that it was melodyne. Combined obviously with some reverb and who knows what else.
I thought we could re create it.
Team up with all our knowledge to try to do it as close to what Mike dose
That can teach a lot about vocal production
Well, do you have melodyne? Take a Chester acapella, reverse parts, follow a melodyne tutorial on changing the pitch/formant, add some reverb, and just play with it until you get it close.
FYI in the time since my original statement about Melodyne and such as it relates to NCSM, it's been established that it's actually Jon Green's voice, not Chester's. Pitch the original down by about 9 semitones and that sounds like the original key he sang in. I feel like it was probably repurposed from a scat vocal on another demo, since it'd be kind of odd to change the key of a song that drastically.
Does anyone know what samples and processing they used for the transitions on Breaking the Habit? Particularly the transition after the first chorus and the quiet instrumental break; it sounds like a triplet scratching sample that gradually pitches up until it hits an "Ah" scratch at the transition, along with some sort of whoosh and a large/bassy explosion sound.
I've been trying to replicate transitions like these because they make the start of a section sound MASSIVE. I think the bassy/explosion effect must have some multiband compression going on there to make it sound so huge, but I could be wrong. Any ideas?
The scratch is the same scratch used in Points of Authority. That's all I can tell you. It's probably the combination of the bass and strings coming back in, along with the big "whoomph" effect they use throughout the song, that makes it sound so big and grand.
Is the explosion sound effect not the same one Mike used in Remember the Name later on? I could've sworn it was, but I might be wrong.
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