After having their record '' Seasons Never Change'' mastered at White Noise Studio,  Ashes Of Many returned for their new single ''Inhibitor''.  A blog about  on how the song was recorded , mixed and mastered.


We planned out to record Inhibitor in 1 day, in which we succeeded. Of course, it helped a tremendous lot the band was extremely well rehearsed.

As so often, we started out with drums.

Dimitri used the studio's Pearl Masterworks drumkit  (12'' and 15'' toms), Mapex Black Panther Snare and his own cymbals. The tuning was set to ''fat and kickass'' meaning, pretty low on toms and snare quite high.

Used mics were Yamaha Subkick and Sennheiser e602 on kick, SM57 and MD421 on snare, Sennheiser MD441's on toms. Overheads were a BPM CR76 as main center mic and Neumann KM184's and Rode NT5's as spot mic on the crashes, ride and hihat. MD21's were used as room mics.

In the drum mix, I used the following  compression: the combined kick and combined snare mics went through the DBX compressor, overheads and toms used the software version of it. OH got some extra multiband compression from 4k and up. The rooms got sidechained limiting using a Brainworx bx_xl vst plugin.

Having 2 different drumsound in this song, I multed the kick and snare for the intro and outro to a different track where I gave them a different treatment. Less compression, and a more round sound. Less in your face to enhance the aggressive mid part of the song.

The drums are edited pretty clean. Tom mics are only open when there's a hit and hihat and ride have their mics open only in places when they are used too. Snare and kick had gates / upward expansion too in various amounts. In contrast, the roommics are there the entire time.

Both guitars were recorded in using the same mics: Sennheiser MD421 and sm57 at the speakers and a BPM cr76  at about a meter distance of the speaker. This to keep some options open during mixing.The main guitars got doubletracked too.
In the mix, I didn't use the BPM mic on Nout's tracks and Roland's tracks got more of a blend of the three.

Since every guitar was doubletracked ( overkill for sure) I checked the tracks for identical parts and used only 2 of the four which sounded tightest at that point. When there were parts which were different, I only used that piece which was different and kept the other guitar going. The guitars were mixed for this particulair song to have a wall of sound, coming from left and right of the speakers at the same time instead of having 1 guitar on the left and the other at the right side.

Joren's bassguitar was miked with a Sennheiser MD441 for mids and highs and a e602 for low end only. The later, distorted part at the end was overdubbed and treated with some reverb to bring it to the background. Overall, the bass got compressed and eq with some 1-1,2 k boost.

Koen's vocals were all recorded with the BPM CR76 tube mic.  For the clean parts I used two km184's as room mics to have a very natural sounding delay. Both room mic tracks got delayed differently to create that stereo delay effect.
The screamvocals were 1 mic only to have contrast. The vocals were double tracked.

All vocals were slightly compressed with the dbx to have a nice starting point and compressed extra with vst compressor when needed. In the mix I changed the panning and ratio between the double tracked vocals during the song. You can hear it very well in the mix.

The mastering of the track was pretty much just some limiting and bus compression. Since this was 1 single track I didn't have the need to have multiple songs fitting together and the need for a extra mastering session because of that. All needed eq setting etc. were done in the mix.