Spain’s long-time purveyors of the leftist side of metal, Orthodox return with their sixth full-length.
Augmenting the core unit of Marco Serrato (bass) and Borja Díaz (drums) is Achilleas Polychronidis (sax) of Skullfuck.Supreme is a slow beating that drags the listener in and out of a haze of improv, psychedelia and dysfunctional doom.
Orthodox’ Supreme is a 36 minute album, released on Utech Records on january 13th 2017.
I was honoured to be asked to do the mix and master of the album.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]By Marlon Wolterink
The Orthodox Supreme Mix:
The tracks were sent to me. For sax, it consisted of 1 acoustic sax track and 2 sax tracks recorded through an amp.
The basstracks had 1 DI’d track and 2 track recorded from an amp. The drums had 2 bassdrum tracks, 1 snare and 2 overheads. Furthermore there were 2 roommics.
To figure out the best way to approach this mix, I listened to the recordings while creating a balance on the fly.
This resulted in a pretty usable mix after a few pass throughs and gave me a clear image on what needed more attention and what not.
First thing to do was the drums.
The track is pretty tomtom heavy. I had no seperate tom tracks to work with, therefore I looked into the overhead tracks to see what I could do to enhance the tom tom presence.
After trying out a few options, I duplicated the overhead track and treated them as tom tracks.
Both new tom tracks were routed to their own tom bus.
I used an multiband envelope shaper to almost remove the cymbal hits and keep the tomtom attacks. The lower end was boosted quite a bit, and this all resulted in a fairly direct and dead but thick tom sound. I added some reverb to get some life back into these tracks.
This was blended in with the overheads. The overheads were then tweaked a bit to have them sound natural and thick.
I flipped the phase on the snare after checking. The snaredrum track then got highpassed and went through a tape simulator which added harmonics and lot’s of thickness.
Last thing i did for drums was the bassdrum. Both kick drums tracks were eq’ed to fit eachother and the other drums.
Sax, Bass and rooms:
Both sax amp tracks were eq-ed to have midrange added and panned for width. These tracks were time aligned to have them match the acoustic sax mic. Pulling one forward and delaying the other resulted in a pretty massive sax sound.
The basstracks were not treated with eq or at compression all. They were just balanced to create the massive sound fitting for this recording. I added no eq, but of course, by balancing the 3 mics there will be tonal differences due to phase cancelling or the phase boosting frequencies. So in that regard, it was eq-ed. The DI track was send to it’s own gated reverb which only worked at hi frequencies to add some movement.
The roommics were compressed to add glue to the entire mix. This also helped adding more beef to the toms of the drums.
Orthodox Supreme mastering:
After mixing everything in Cubase, I routed every instrument to their own bus and into the D&R Mixer to have additional analogue eq on every instrument. This was to enhance the overall thickness, to add glue and help every instrument sit in the mix. After that, it was recorded back into Cubase. I added a bit of hi frequencies and midrange to the entire master and limited it.