MIXING TESSERACT GUITARS w/ Acle Kahney
Vložit
- čas přidán 29. 11. 2021
- Acle Kahney mixes the rhythm guitars for "Juno" by Tesseract
Get instant access to TesseracT multi-tracks and Acle Kahney's full mixing session ► nailthemix.com/tesseract
NAIL THE MIX is an online mixing school created by Joey Sturgis, Joel Wanasek and Eyal Levi - the guys who produced bands like TDWP, Chelsea Grin, Blessthefall, Machine Head, Monuments, Miss May I, Of Mice & Men, Reflections, Born Of Osiris, Asking Alexandria and dozens more of this generation's best metal bands.
Every month, NAIL THE MIX members get exclusive access to the REAL MULTI-TRACK SESSIONS from a REAL ALBUM, and a 6-8 hour live streaming class from the producer who mixed it. These are the actual sessions by bands like Gojira, Meshuggah, Periphery, Papa Roach, Machine Head, Bring Me The Horizon, A Day To Remember and more - and NTM is the only place in the world you'll get access to them!
Needs more EQ to be honest.
Yep. Whoever mixed this needs some more training. :)
You've got a very dry sense of humor, don't you
Sounding fabulous though. Shows how much you can get the those heavily distorted guitars out of the way, not usual for a guitarist to mix with this little ego I guess!
That bass tone is just gnarly. Sounds like it's driving the sound much more than the guitars
Inferno Bass by Odeholm Audio with Darkglass NDSP gets that sound so easy and without a band member lol
'Man from Milton Keynes EQ's rhythm guitars into a fine mist.'
Sounds great though. Imagine being an unwanted frequency and even considering trying to get past him. Soon as he opens the EQ it's squid games.
😂
"Soon as he opens the EQ it's squid games" best analogy ever
😂 squid game
I wish I could say "wow, this guy makes it look so easy!"
Now I'm here thinking "this guy makes it look like you need a fucking PhD to pull this off"
I wouldn't be surprised if he had a notebook with algebraic operations to calculate the fundamentals, phase coherency, etc
I know a guy who's this nerdy about it, but his mixes are great.
Lmfao. Based.
I know this is a guitar related video, but can we talk about how incredible that snare and kick sound?
And that bass. Thats what I call BASS
Amos Williams is a BEAST!
Acle is extreme about his stuff, he knows he is extreme about his stuff, but the result is amazing music, so who can complain? Or even better; who SHOULD complain? TesseracT has the best live sound I’ve ever heard as well (by quite a bit), closest band is Meshuggah.
this is a studio mixing, not a live sound mixing tho
@@Sadix99 its a mishmash of live performances though. So it kinda is a live mix.
The combination of that throaty sound and upper octave guitars gives the speedier sections a more synthy futuristic sound. I love it.
Metal producers: "get it right at the source so you don't have to do much work later!"
Also metal producers: "make as many eq moves as you need to get the results you want! Don't be afraid of huge eq moves!"
Imagine if he didn' get it at right at the source though. This is eqing into a mix with over 100 tracks, he got it right at the source, but that doesn't mean it will just slot into the mix.
Applying too many EQs can jam the sound due to the many phase delays that filters give. You can, of course, apply phase compensation in the FabFilter Pro-Q as a result, but still.. By the way, dude in the video uses too much bell EQs, where it's much much better to use shelves. Bell-filters sucks. They're good only for micro tuning only if shelves are not enough.
In my opinion EQ doesn't mean too much as good pre-EQ, distortion and compression (I call it "structure of the sound"). EQ is very dependant on certain mix.
Basically, good source allows to avoid over-processing of the sound. Processing of the sound always have some defects on the sound.
@@exception05 also never forget the right mic and its placement.
@@exception05 for sure. A lot of that noise, especially the rumble he gets from 100-200 is especially cleaned with less bass on the pre eq
@@rockboy360 If you record the amp with cabs, for sure. I personally work with VST distortion 99% of time. Mics are good "natural" EQs, but it doesn't necessary mean that you'll get a good sound: you'll get what you have if we're talking about close to zero processing, but since some experience I was thinking about getting a good EQ of just using mics, but I don't have a possibility to experiment with that right now (I am all digital for now and happy with that). Also some mic effects can be effectively emulated by using compression and EQ. For example, I recently figured out how compression works in Metallica 1986-1991: their compressor reacts on 120 Hz that comes from loudspeakers on a big volume. They didn't managed to cut it, but they used compressor and post-EQ trying to get rid of it. That's how I've got pretty similar compressor effect, by putting 120 Hz before compressor and lowering it after. I'm sure many effects of mics and loudspeakers can be emulated with compressor and EQ and maybe reverb.
getting it right at the source seems not to be what they went for :D
He's probably aware he has to make space for 100+ tracks of extra little layers/ samples etc that were on this album :D
I think this session was actually a combination of recordings from the album version, portals recording, and live in lockdown. So I’d kinda understand if not everything lines up right tonally.
For real, there are 420 videos that URM have made where they talk down to people about getting the tone perfect before it hits the computer and then at the same time they show dudes who make 69 huge eq moves in one plugin because you need to do whatever it takes to get the sound you want. Smh the double standards are strong
@@xb70prince getting a good guitar tone vs sitting guitars in a full mix are 2 completely different levels of production tho. a guitar can sound perfect and thick right at the source but then making room for bass and drums where the frequencies are fighting the guitar tone is a little bit trickier. Taylor Larson always said it’s hard to make rhythms sound good but not offensive in the mix, over production in this aspect are a lot more common. it’s like chopping a bad kick sample EQ up to tame the low end and bring in the attack while keeping the mids less boxy, a lot of these guys just crank their settings bc they’ve made a living using that method comfortably.
@@jackclay9145 sick appeal to authority there! It doesn't address the problem. Its confusing af to people who are learning how to mix to see both cases made: "get it right at the source" and "make whatever eq moves you to in order to get the sound you want"
Both are true but it's not a great place to start
That split coil tone is bananas. Love it.
Acle is a genius at mixing for sure. TesseracT is one of my fave djent/prog metal bands.
Acle is a true visionary. How do you hear any of this and know how to make the choices he's making?
I feel like no one here realizes these arent the album tracks, theyre from live versions. So its not the same process as mixing a studio album at all.
I’m starting to think guitars might be the wrong instrument for this type of music.
Lol top comment I hope soon
There's something fun about making your guitar function like almost am entirely different instrument though. Pioneering something different rather than sounding like everybody else.
I personally like George Lever's approach recently which is basically trying to make guitars function like synths at times. Just shows the versatility of guitars when people think outside the box.
LMFAO!!
What else is there?
LMAO right??
To be fair I think there's a certain sound you get from over processing guitars or whatever really to fit into a mix. It's that real modern, metal/rock sound.
I dig it.
There are a lot of guys questioning and putting negative comments about Acle's mixing knowledge, it's fine but I would like to hear their mixes to compare them, and then know who really has the merit to be able to comment on it
The bass is doing all the work here
I don't understand why live sounds massive, and here is inorganic like without a cab, i love sooo much the guitar tone in the polaris album
Not too sure why everyone's coming here to complain, you SHOULD get it right at the source so you have awesome tones to start with, and then use your toolbox to make them sit in the mix via whatever means necessary. Both are equally important steps in the process and you need to do both. Stop complaining about free instruction and put in the work. Learning this shit isn't for the impatient or easily frustrated.
The other thing I see a lot of is people saying that it doesn't sound good on its own- it's not meant to! It's meant to sit in a mix with (in some cases) hundreds of other tracks, and make room for the rest of the instruments rather than overwhelming them. The bass is infinitely more important to a good guitar sound than the guitar is, and most accomplished mixers understand that. I don't think a single metal band's guitar tone sounds "good" on its own, because if it did, it wouldn't sound good in a mix and that's pretty much all there is to it.
People who say it doesnt sound good on its own understand 0 about mixing honestly. I've not been mixing a long time but thats something I picked up rather soon: Why would I bother making it sound perfect on its own if it doesnt sit well in the mix?
My observation too, guitar plugins are starting to sound so good "solo" at least so they are harder to mix because they take up more space in the mix. The same applies to a well recorded guitar. Mixing was easier with lofi line 6 distortion tones at least for me before these neural dsp plugins showed up. So i agree it does not matter how it sounds "solo" but how it balances and sound in the mix..
holy fuck.....what he did with ProQ..........
It might not be everyone's cup of tea, but they definitely have a sound in mind and know exactly how to make it happen.
Awesome
Damm he's doing some landscaping in the proQ
Love all the armchair mix engineering geniuses in the comments section. How many albums beloved by thousands of fans have you all worked on? Zero? That's what I thought.
pro q 4 will come with 36+ bands probably, because you know, people are solid nuts now, literally.
First i thought that guitars are missing the IR because they sound exactly like that... feels like whatever i end up with when i forget to include an IR on my amp sim.
the eq curve at 6:24 looks stoopid
I don't feel so bad now for struggling with a "metal" guitar tones to fit in with 3 part vocal harmonies and strings, synth and drums.
😂😂
Should have used linear phase for all those high bell curve bands.
2:30 can anyone explain to me the "old school c6 trick (?)" he's talking about?
Why are the vocals so low in the final mix?
Holy f’n eq bands Batman !
I always did wonder why pro q3 allowed 24 frequency nodes... 😜
Bass is loud af even on cellphone speakers, I'm down
Let’s add harshness with the tone then remove harshness then add it back in then remove it again. Easier option is open Archetype Nolly and leave it stock with no EQ like spitbox lol
you are regarded
are my speakers broken or do those rhythms not have an IR?
Just eq’d into white noise
lol
It seems like sometimes these mixers over eq everything because they just need something to do. Surely, if there are that many problems with the tone, you re-record or re-amp? And what happens when the player changes style to palm mutes or ends up playing in a different right hand position on the strings? Then the tone changes and you have to adjust all your eq's?
From reading this comment, it sounds as if you think that mixing is a form of “cheating” to get a better sound and hide mistakes. It’s not a matter of problems with the tone, it’s forming the sound in the same way that a knives edge must be honed. It makes all of the sounds that you’re hearing meld together so there aren’t any frequencies that are taxing on the ears.
And yes, a lot of the time they’ll readjust EQ when play style changes. It’s just the way things work.
The more you shake hands .... the faster you drown ... Chris Lord -Alge! ...
He is smarter than me but that seems extreme EQing
Not when you realize there are around 100 tracks.
@@enzojacobsen4349 I've seen guys mix tracks with orchestral arrangements involved use less EQ on their guitars. There's nothing inherently wrong with it, but there's also something to be said for getting it as right as possible before you go into post so you don't have to obliterate the original source tone. Just two ways of going about it, I guess. Seems extreme to me as well, though.
@@abunai.j also seems extreme here, I cracked up when I saw it. But he knows what's up and he has his reasons.
Gotta keep in mind all these tracks are from different sessions though, and they're almost all from live performances. So hes essentially trying to mix four or five different performances into one. So he couldnt just "get it right at the source" because these werent necessarily recorded with this in mind. I feel like he did this to challenge himself, possibly he was bored with the album version.
What I would call, losing yourself in the mix. :D :D :D
Mixing seems so complicated.
just get good dry tracks and hire somebody who knows what they're doing XD. with the amount of man-hours it takes to learn this crap you could easily earn the money to pay them 100 times over.
@@markmeloney2643 lol maybe you're right.
Acle. You went all digital many years ago for simplifying your setup. Your sound evolved to more digital sounding. It removes all the character and makes the guitar lifeless. You can make great patches with that Kemper. Take this comment as a constructive feedback. Love everything you do and you're one of my greatest inspirations. Stay safe brother
Lol with all due respect your comment doesn’t make any sense dude. Kemper is digital and it sounds no better or worse than an Axe, Helix, QC, etc. It’s all in how you build the patch and there are amp emulations in an Axe FX that honestly sound better than the real amp at this point.
@@user-te3qq1rb7u It's digital but his patches doesn't sound that good. You can make great patches with it. I have used one from another band and it sounded amazing. They made patches from a Mesa triple recto with a 2x12 cab. It sounded exactly like the real thing. What I'm trying to say is that he can do better sounds with his Kemper and refine his patch.
@@ceedee9186 Fair enough. I'd agree that his tones on their own in this don't sound great. Lots of top end sizzle but they sound good in the mix.
@@user-te3qq1rb7u Exactly. I think he uses the bass tone to blend it with the guitars. In the mix they sound great
@@ceedee9186 hes not going for a "good guitar sound" though. Its supposed to be harsh and bitey. That guitar tone is a huge part of what separates tesseract from other bands imo. I love the tone honestly
I always felt like Tesseract guitar tones sounded artificial and lifeless. Now I know why. 😬
yeh, I'm no expert for sure, but this approach seems to take out whatever organic tone the guitars have. I like the Gojira 'organic' approach.
It's not about just the guitars though. It's about how they fit in the mix since the bass adds so much to it and gets that insane final sound.
@@tarkenton3895 I mean you're basically describing mixing and I totally agree with you in theory. In practice, I've never liked Tesseract guitar tones even though I really like all the other elements.
A lot of the speedy sections at least give off more of a synth vibe to me than a guitar, but at the same time I love the result.
teh bass sound programmed, and not played. Wht kind of thick you do here ?
It's weird how bad guitars sound on their own!
This is bad advice, why are you posting this?