[vc_row][vc_column][templatera id=”5797″][/vc_column][/vc_row][vc_row][vc_column][rev_slider_vc alias=”StudioBlogSlider”][vc_column_text]
KLS – Benicarló Spain – White Noise Sessions
[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/2″][vc_column_text][youtube id=”RcXDoBROthw” mode=”lazyload”][/vc_column_text][/vc_column][vc_column width=”1/2″][vc_column_text]KLS, from Benicarlo – Spain visited the White Noise Studio for a White Noise Session during their spring 2016 tour with Teletexto.
KLS brought their own backline, which consisted of 2 guitar amps,
bassamp and drumkit.
The drumkit was miced with an Sennheiser e602 inside the kick and a Yamaha subkick in front of it, an AKG DM1000c on top of the snare, Rode NT5 as overheads, a Sennheiser md421 for the hi tom and a rode nt1 for the floortom.
The guitar amps were micked with an Sennheiser MD421 and Shure SM57. The bassamp was recorded with a Neumann TLM103.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]
Vocal mic choice:
The band uses 2 vocals. Since they mostly do loud scream vocals, a sm58 for both was the mic of choice. The loud vocals made sure the background noise to vocal signal was good. Scream type vocals work well with a mid rangey mic like a sm58 since those vocals have plenty hi frequencies. Condensers can sound too hyped in the highs and since they are mostly more senstive, overloading the mic is a possibility.
The KLS Mix:
The snaredrum mic had a lot of bleed of the hihat. This, in combination with dynamic playing ment simply compressing the snare would have ment the hihat would be way too loud at times. A solution would be gating and that’s what I did. Although the fabfilter pro-g gate I used has frequency specific triggering, it didn’t work. The problem with the dynamic playing was a lot of false triggering due to the loud hihat.
So the used solution was multiband gating. The snare was duplicated twice to have three copies. One was for the low end up to 500hz, the second for the midrange to 6khz and one for top end. This worked really well for the gating. The crossover points where were I was planning to do some eq dips. That ment I also automatically have those dips without the need for seperate eq-ing.
The bassguitar track was also duplicated to have one track for low end below 125hz only. this got automated with Waves Vocal Rider for constant push.
Both vocals got Hi and Lo passed to remove some cymbals and low end which didn’t affect the vocal frequency range. The Elysia mpressor was used to compress the vocals.
The guitars were hi and lowpassed and compressed with Waves Rennaisance Axx. They both then were routed to a group where some additional multiband compression on the high mids tamed the few out of balance frequencies.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]