My new band – Forging the Storm – is currently recording the first full length album. Recently, we released the first song titled ‘Silence the Skeptics’:
For preparing the next recording session I have done a quick sound test with the 6505. The signal chain was as followed:
ESP Horizon (SH-13) -> OD 808 -> 6505 -> Mesa 4x12 -> SM 57 -> Duet 2
No Eq, no post processing… nothing at all. Enjoy!
The Peavey 6505 / 5150 is one of the most famous amps for metal. That aggressive monster can be heard on many of the most famous metal releases from the last 20 years including Machine Head, Trivium, Bullet For My Valentine, Chimaira, etc.
Many different settings can be found out there in different forums and different hints for recording this amp. I collected some of the most frequently cited settings and made a comprehensive comparison of it. One thing that all approaches have in common is the use of a Tube Screamer and a cabinet with Celestion Vintag 30 speakers. Altogether I selected settings from the following artists:
- Andy Sneap
- Ola Englund
- Killswitch Engange
- Machine Head
- Bring me the Horizon
All details of these settings can be downloaded here: 6505/5150-Setting.pdf
Additionally I have used each of these settings for reamping the DI’s provided by Ola Englund that can be found here (Thanx for that Ola! Really great work!). For each setting I used the following Signal Chain:
Duet2 -> Radial X-Amp -> OD 808 -> 6505 -> Engl 4x12 -> SM57 -> Duet2
NOTE that I changed the mic position during the reamping to get a better impression of the sound of the setting. Due to the moving of the mic you might hear some changes in the sound of the guitar sample. For every sample I started with a mic position straight to the dust cap of the V30, so that each sample should have a very similar starting point of the mic position.
For the backing-track I used EZDrummer with the Metal Machine EZX recorded by Andy Sneap without any changes in the default setting! The bass was processed with Ampeq SVX and some EQ and Compressors.
Andy Sneap Setting:
Ola Englund Setting:
Killswitch Engange Setting:
Machine Head Setting:
Bring Me The Horizon Setting:
Each of the guitar tracks is recorded with a 60hz hi pass and a 12kHz low pass filter. There are no effects in the master bus and the drum track.
Hope you have fun trying these settings in your next recording session and perhaps it will make your work and decisions for the next session a bit more easier!
We are currently recording the third release of my band kohatred, which will be called ‘Edge Of The Unknown’. Two weeks ago we finished the first track and decided to provide it FOR FREE! You can find the download link at www.kohatred.com. Enjoy!
Unforunately I was very busy in the last time and was not able to write new posts. But now I have taken some time to provide a really badass preset for your recordings. I have done it on the basis of this post here. Enjoy!
Here you can listen to the preset in a typical mix (4 gtr tracks; panned L – L 80 – R 80 – R) and processed with UAD Cambridge and UAD Pultec (see pictures below)
(You need the Metal Shop AddOn and a compatible Line6 device; I’m using a POD XT; Song snippet is from a song called warchild from my band Kohatred)
I’ve done a short comparison between these two speakers. The V 30 sits in a Engl Pro 412 and the G12K in a Diezel Custom 412 Cabinet. Mic was a SM57 and the amp an Dieze Herbert in channel 2 with Mid-Cut enabled. Here is the signal chain:
Guitar -> OD808 -> Diezel Herbert -> V30 o. G12K -> SM57
Engl 412 Pro with Celestion Vintage 30
Diezel 412 Custom with Celestion G12K-100
Diezel Herbert Settings
Here you can hear a quick comparison of these two pickups. The Seymour Duncan SH-4 is in an ESP Horizon Custom and the EMG 81 in a Mayones Regius. The signal chain for this test was:
Guitar -> OD808 -> Engl Powerball -> Engl 412 Pro -> SM57
Mic Position 1:
Mic Position 2:
Today I did some tests for the recording of our new release and I tried the Fredman-Micing-Technique. The basic idea of this technique is to use two dynamic mics in front of one speaker. One of it on-axis and the other one off-axis. The on-axis mic should deliver the raw and scratchy sound, while the off-axis mic offers a more creamy sound. The combination of these two charachters should offer a real good comination of both worlds. I usually use 2 x SM 57 for Fredman-Micing and set the on-axis mic about 6db lower than the off-axis. For this example I used the Diezel Herbert with an Engl 412 loaded with V30 and quadtracked the guitars. All in all this results in 8 guitar tracks: 2 L – 2 L60 – 2 R60 – 2R.Here are the results:
In the first test the on-axis mic pointed directly at the center of the dust cap:
Guitars Fredman 1:
Mix Fredman 1:
In the second test the on-axis mic pointed to the point where the dust cap meets the diaphragm
Guitars Fredman 2:
Mix Fredman 2:
(Don’t judge my playing; it was only done for getting an impression of the sound!)
I’ve done a short video where you can hear and see the influence of the microphone position when micing an amp. I used an SM57 with three different angles: on-axis, half-off-axis and off-axis. Then I moved the mic before the speaker, so that you can hear how the mic placement influences the sound. The signal chain for this video was the following:
Regius 6 -> OD808 -> Herbert -> Diezel 412FK -> SM57
The settings of the OD808 are: Overdrive 9:00; Tone 12:00; Balance 12:00. All knobs of the Herbert are at noon (except the volume . Note that the cabinet is front-loaded with Celestion G12K100. Hope you like it…
The bass guitar is the most underrated piece in heavy metal music. Probably this is the reason why only a few good bassists bustle around in this genre?! When I record a bass guitar for a heavy metal sound I usually use the following signal chain:
Bass -> BDDI -> Ampeg
In the following sound samples you can hear, how every element in this chain enhances the sound. The first sample is the raw bass signal. It is recorded with a simple DI Box directly into the recording device. This signal is routed through one of the free outputs into a re-amp box (I usually use a Radial Engineering X-Amp Box) into the Bass Driver D.I. and back into the recording interface. So I am able to record the raw bass signal and the signal from the BDDI together. Finally I use the Ampeg SVX Plugin. Sounds f***ing brutal, isn’t it?!
Bass track direct
Bass track BDDI
Bass track BDDI + AMPEG