White Noise Studio, Winterswijk

Mopeds by Relffoxes

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Relffoxes – Mopeds

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Relffoxes – Mopeds

Recorded on 29 october 2016
mixed and mastered early november 2016


Facebook: https://www.facebook.com/relffoxesofficial
Youtube: https://www.youtube.com/watch?v=TFSDiFsNnIc
Spotify: spotify:track:2P5hN5asYh8r76oHRJj1hx

Relffoxes returned to the White Noise Studio to record their latest single ”Mopeds”.
The track features a swampgroove, raunchy guitars and ditto bass.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/4″ css=”.vc_custom_1481634691002{margin-top: 10px !important;}”][vc_single_image image=”6342″ img_size=”large” onclick=”link_image” css=”.vc_custom_1481634744014{margin-bottom: 10px !important;}”][vc_single_image image=”6343″ img_size=”large” onclick=”link_image” css=”.vc_custom_1481634755114{margin-bottom: 10px !important;}”][vc_single_image image=”6344″ img_size=”large” onclick=”link_image” css=”.vc_custom_1481634762954{margin-bottom: 10px !important;}”][vc_single_image image=”6345″ img_size=”large” onclick=”link_image”][/vc_column][vc_column width=”3/4″][vc_column_text]

Mopeds Recording Setup:

The session was set up to make sure the band recorded the basic tracks of drums, bass and guitars together. Because of that the band wa given headphones. We build up the guitar and bass amps in the hallway of the studio. This made sure the drums were fully isolated to have as much felixibilty while mixing as possible. The same goes for guitar and bass.
Relfoxxes provided several demos and a preproduction recordings before going into the recording session. I gave my feedback and this all made sure we knew exactly what to do during the recording session. Proper preparations!

We recorded the Harmen’s guitar amp with an sm57 and a Beyerdynamic m130 ( which David van Lochem brought with him). Peter’s bass was recorded with a DI from the Ampeg DI out and a Neumann TLM 103. The neuman was placed before the cabinet for natural and thick low end. We tweaked the bass sound untill we got the sound which would fit best for the recording.

Drum recordings:

Jorick’s drumkit was recorded with multiple mics. 3 mics for the bassdrum. A Shure SM58 inside the kick for the attack, a sennheiser e602 in the soundhile for the body and a yamaha subkick for the low end. I placed 3 mics on the snare too. A Rode nt5 and AKG DM1000C on top and rode nt5 on bottom snare. For the toms a md421 and Rode NT1 were used. Overheads were Audio Technica AT3525’s. A special kitmic was added. The microphone was placed above the bassdrum aiming at the snare to capture an overall drumkit sound from very close. Roomics were the trusted sennheiser MD21’s. An SM58 was used for the cymbal stacked trash cymbal since it’s pretty dominant in the verses.
The vocals of Harmen were recorded with an sennheiser MD441 and the BPM CR76 and an Audio Technica at3525 as room mic.

The band recorded the basic tracks together and Harmen overdubbed his vocals and some extra guitar parts.

Mopeds Mix:

Both guitar mics were blended together in a 50/50 ratio. A bit of low end boost was added for some weight in the guitars. All of the guitars were routed to a guitar masterbus. On this bus an instance of kramer guitar provided compression and mid and treble boost. To beef up the guitar solo, a send bus was created with provided delay, bitcrusher and bandpassing. I added a sense of space but not overly defined.

The bassguitar microphone track was duplicated. One track was lowpassed and levelled for a constant low end push, the other hipassed to keep the mids natural. The DI track was hipassed to keep most of the overdrive sound and all 3 tracks were blended together. No compression was used.

For the drums, a bit of searching for the right sound was needed. Drummer Jorik likes his drums to sound pretty attacky and short, more black metal so to speak.
With the sustained fat guitars and bass this could have easily ended up being too thin sounding to complement the stringed instruments.
The way I proceeded was to mix the drums first for the verses where there was a way more open sound for the drums to stay pretty attacky. The room mics recorded provided the needed ambience to fill out the space and give a feel of, well, space.
In the chorusses  more room was added and a special treated snare track was added for more oomph and depth. This was heavily automated. An extra roommic track was created from some single hits we recorded afterwards and added in the chorusses too.

Vocals and tomtom overdubs:

For the vocals, the BPM CR76 and MD441 were blended in equal parts.
The vocal sound is kept pretty dry, an instance of Audio Damage Fluid was used for a hint of space around the vocal. Of course, it’s obvious there’s a slapback delay on the vocal. For that, the roommic was used and simply moved backwards, eq-ed and limited so it worked as an delay.

There are some tomtom overdubs in the track on the heavy triplet breaks in the beginning and at the end. For this, the single headed toms of the studio were used and Jorik played them twice. They were recorded with overhead mics, mostly to get the attack and not a too close sounding drumsound. Only an eq dip en hiband envelopeshaping were used to get them to fit in the mix.

Mopeds Master:

On the end bus, multiband compression on the mid lower range was added to glue that part a bit more together. It was then passed through analogue eq to add hi frequencies and midrange before being a bit limited.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_column_text][socialWarfare][/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][templatera id=”5871″][/vc_column][/vc_row]

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