Interview with Jens Bogren
by The Gearspace.com Community
28th September 2023
If he isn't the world's best current metal producer and recording engineer, he's certainly the world's busiest! Jens Bogren is a prolific talent in all things heavy metal - he's produced a phone book's worth of metal bands including Opeth, Dimmu Borgir, Sepultura, Arch Enemy, At the Gates, Katatonia, Babymetal, Soilwork, James LaBrie, Moonspell, God Forbid, Kreator, Devin Townsend, DragonForce and many, many more. In addition to being the master of high gain and downtuned guitar capture, he also co-founded an eponymous plug-in software company that brings some of his previously top secret techniques to some very easy-to-use software, so anyone can get the Jens Bogren sound in their DAW with just the twist of a virtual knob, and with no need for 130dB dimed amp stacks in a bedroom. Jens kindly spent a couple weeks with us in 2020 answering questions about all things metal production - techniques, hardware, and plugins of all sorts! Spoiler: it gets heavy!
[top]
Well, as loud and proud as I dare. :-)
It's impossible to get a good bass sound out of something that's sub-par on tape. Re-amping will help, but not as much as for guitars. The difference between a poor ESP bass with bad strings and a great Sadowsky with fresh strings is enormous. I change bass strings for every song, or even more often. As soon as it starts sounding dead.
Mixing wise, I often blend a fairly clean amp with SansAmp or some other distortion, and a high-passed (around 5k) and limited Di for re-inject string sound into the mix. I tend to use different compressors in series, some in parallel. I might end up with some sort of multiband compression, too. Sometimes I feed the bass to the drum bus, and to the parallel drum compressor. My best tip is to not solo listen to the bass unless you absolutely have to. Also, do different sounds for whenever the bass is playing without rhythm guitars.
- Jens Bogren
Sound Radix Auto-Align
It depends, no rules. On Di, sometimes I use only the sub info and/or the very high frequencies (5k+) and blend that into my amp signal. That way, I re-vitalize the bass sound with solid low end, and nice string action in the highs.
If you blend stuff like this, make sure it's in phase. I tend to use the Auto-Align Plugin from Sound Radix.
- Jens Bogren
[top]I'm curious what hardware units you find most essential to your workflow/sound? And the applications in which you would find them the most important?
The mix hardware I would take with me to an isolated island would probably be my speakers and my beloved LA2 that I never managed to replace with plugins.
The latter is on most of my lead vocal tracks. But I don't have too many "must haves", I use what's available.
The coffee machine is extremely important, though. Strong, or stronger.
The most important thing while tracking acoustic elements (including vocals) is the room, IMO. For vocals, the mic is very important, though. It seems to be almost a lost art, cutting good sounding vocals. The same goes for the control room while mixing, more important than the speakers.
- Jens Bogren
If it sounds phasey, then something is wrong. But yeah, it will always sound better and louder in stereo.
I dislike going much beyond the 100% L/R field, both because of mono compatibility and the weird headphone sensation it creates. It's also a disaster for the vinyl format. I use mono listening like you describe to do some low end / low mid cleaning up, and to better hear what's messing things up in a dense arrangement. I mix 99% in stereo though.
- Jens Bogren
[top]From what I understand you are using harmonic distortion a lot.
Distortion and saturation are a great way to tame low end, low mids, and create new harmonics in order for stuff to open up and come through a dense mix.
I use some hardware like the Distressor, pre-amp distortion (I have some V73 clones from Vintagedesign that work for this), Thermionic Culture Vulture, but also compressors like a vintage silverfaced LA2A that can be nicely driven, along with some 1176's that can be pushed too.
In the box, I tend to reach for Decapitator (great plugin), and the Manny Marroquin Distortion, or the Plugin Alliance Black Box. Tracks I use it on would be vocals (when called for), sometimes for cymbals, and a lot of times on keyboards. I distort bass too, usually with SansAmp though.
Thermionic Culture Vulture
- Jens Bogren
I'm not on Barefoots anymore, but I was for many years.
Anyway, it depends on my mode. If I feel that I lack inspiration in one pair, I switch to the other. A bit dumb.
I tend to get the best results though if I start on the bigger nearfields (I'm using Amphion Two18), and then switch to NS10's to finish up the mix. When I feel ready, I switch back to the mains and clean up the mix. I try to switch during natural breaks, like before and after lunch, if possible.
- Jens Bogren
The listening environment is very important, but great mixes can be done on cheap speakers. A good sound card, a pair of decent pre-amps with transformers, an SM7, a pair of SM57's would be a good start. I guess it's about finding the gear that really works on a budget, and those mics are classics for a reason.
For the sound card, I would probably go for a UA system that allows tracking in realtime through plugins. Very handy. If you're about to record sessions with a full band, it's a bit of a different story since it requires many inputs and a good low latency monitoring system for each musician.
I don't really keep track of the ever-growing market for cost effective studio gear, so I better stay away from trying to give more advice on the matter.
- Jens Bogren
Shure SM91
I used a B52 in the resonance hole along with an SM91 inside the kick, Topped off with a U47FETin front of the kick. The rhythm guitars where quad tracked in B on an ESP guitar with active Seymor Duncan's, through a MesaDual Rectifier into an MF400 Marshall cab. Same for all 4 guitars, against better knowledge. But it sounded great.
- Jens Bogren
I re-amp stuff I get in for mixing quite often.
This way, it’s easier to find a sound that works for the mix.
I’d also avoid having a lead sound that is recorded with the same setup (especially the cab) as the rhythm guitars. That is the most important tip I can give. I see it all too often: “This is our sound, let’s record all guitars with it”...(wong!)
- Jens Bogren
Cheers Greg!
Well, with great pain.
It’s super hard to get a usable sounding band while “adding” an orchestra. Most important is the arrangements I’d say. Fleshgod Apocalypse are the masters of that craft, weaving the name into the orchestra during the early stages of orchestration and writing.
The second most important is the orchestra sounds. A real orchestra will always sounds the best but can be hard to balance. Sampled orchestra (broken out into every individual element) will give you more control, but it will sound horrible if it’s not done right and with great libraries. The actual mixing part: no secrets or tricks, just the basic hard work. More distortion on whatever needs to come forward and thinner sounds in general to make stuff fit, perhaps.
- Jens Bogren
[top]I'd like to know more about your mastering methods:
Good questions. I do way more albums as a mastering engineer per year than I do mixing, so I was hoping to get some questions on these matters.
Sonnox Oxford Limiter
Yeah, I do not like limiters much, I prefer AD clipping or possibly some other digital clipping method. When it gets ugly, it gets ugly, but up until that point it's way more transparent than limiters. To reach "maximum" level (a relative term), I do however pre-treat the mix with some limiting (usually Oxford Limiter, the same one as I use on my monitor return while mixing to "emulate" mastering).
Then I might "shave" the clipped signal further with another limiter (0,5dB or so, usually compensating for the fact that I need to bring down the final output level to -0,2 or lower, depending on sample rate, etc.
For ADM (used to be Mastered for iTunes), I bring it down lower, around -1dB. Achieving volume has a lot to do with having a mix that is suitable for loudness. Then getting the frequency response right, and lastly having the gain stages in harmony: a little of many things, not trying to achieve final volume through one method only.
I use as much headroom as I can get, really. I think it's a good idea to get rid of anything (like plugins that probably could be done better in a separate mastering process.
It can be important to provide the mastering engineer with a "listening reference" though, containing all the bells and whistles from the mix stage.
I go as loud as I think the mix has potential for. Sometimes the client will ask me to push it louder, and then we might have a discussion about it. Sometimes I will provide 2 options for the first song with different output levels. Loudness is getting less important, but at least in my line of music it's still very common to want it freakin' loud. I can only do so much about that.
Re switching mixing brain to mastering brain - it can be very hard. I really prefer some days between mixing and mastering. The good thing is if I have to work too hard during mastering, I will go back into the mix.
One reflection I can share is that I think many mastering engineers are trying too hard, and thus altering the mixes where the cons of whatever they're trying to do outweigh the pros by far. Especially if it's a mix engineer trying to master. I've been there for sure.
In general, I really recommend working with an external engineer. These days I have Tony Lindgren inhouse, even though I can't help myself messing with him when he's mastering my stuff. Control freak to the core.
Re Limiters & clipping: I do not like limiters much, I prefer AD clipping or possibly some other digital clipping method. When it gets ugly, it gets ugly, but up until that point it's way more transparent than limiters. To reach "maximum" level (a relative term), I do however pre-treat the mix with some limiting (usually Oxford Limiter, the same one as I use on my monitor return while mixing to "emulate" mastering).
Re mastering chain: Tough question, I never reflected over a certain approach. It's instinct, and mostly it's about different stages of EQ. Less compression than people think, and a correct (or what works for me) gain staging through various processes to achieve the desired volume. I tend to work in MS a bit, but mainly stereo.
I do quite a lot of stem mastering work since people know me probably more through my mixing work. Then they think I can fix their mix. ;-)
A typical chain can be: Pro Tools session, possibly some Epure or Digital V3 EQ, maybe some limiter shaving, out through my Forsell MADA-2, possibly through my RND summing system (for the transformers), off to my Gyratec, into my SSL XLogic Compressor, into my Thermionic Culture Phoenix (usually no compression), onwards into MADA-2 again, into an aux track in Pro Tools where I might add another limiter, routed to an audio track where I print.
I might also use the LinMB before going analogue, and on occasion, I'd use the Voxengo CurveEQ.
Forssell Technologies MADA-2
- Jens Bogren
Vocals are the most difficult thing to mix IMO. It requires careful planning and trial and error to find the right comp/eq/distortion/de-essing that will look a bit different every time. I’ve described that on here earlier, that I like to make several attempts on key elements like this. Then I A/B or blind test myself for the one that was the most successful chain or attempt. Only when I have the core sound, I would proceed with delay/reverb or whatever I’m using. Automaton is also super important to me when it comes to (especially) vocals. I automate more or less every phrase or word or even syllable until it sits where I want it.
- Jens Bogren
If you're an artist that is looking for "your sound", it makes sense to find something you like and stick to that method. As a producer, I work with a variety of bands (even if most of them are heavy acts). This calls for a unique approach since every new situation will be and sound different from previous ones.
Theoretically speaking, I prefer different cabs for a secondary rhythm pair. It works better in the low end and overall "phase coherency". However, I like to keep an empirical approach to the method I use for creating a sound: I create several every time I'm in that situation, and then I test myself and the client to which amp/cab combinations that work the best for the album. It takes me about a day for each project.
This test also includes whether I wanna go with 2 or 4 guitars. Sometimes this will result in 4 guitars of the same setup, while other times, it will be only 2 guitars with one different setup per side.
So, I have no quick fixes here. Even after 20 years, I prefer doing it this way. If I would stick to a path I think I've found, I would stagnate. That being said, the gear I've collected over the years are all gear that I like and could be contenders on any album I do. So it's not a matter of trying every amp and cab in the world every time. :-)
- Jens Bogren
STL Tones Ignite Libra
Glad you like them! Each of them is created individually. Some were created as a left or right guitar track against something else, but I never blended them during the creation process. That's a new dimension that surely should be tried out. I'm using STL Libra for these where the blending capability is pretty amazing, and there are 5 blending presets included in the latest Libra update.
Blend long and prosper!
- Jens Bogren
I developed a workflow with summing devices that works for me when I moved to working ITB/hybrid. Soundwise, I think there's little difference in actual summing. However, many of these units have transformers on the output, and that makes a difference. I started out using a Vintage Design unit, moved to Neve 8816 (pots are horrible), and now I'm using a Rnd 5059 that is very solid. I've been thinking about trying something braver, like Thermionic Culture, but we'll see about that.
While I do use hardware inserts, I've replaced most of my chains with software equivalents for recallability. I have some I can't live without yet, but I print them as soon as I can.
Rupert Neve Designs 5059
My mix bus consists of The Rnd 5059, into SLL XLogic compressor, into Thermionic Culture The Phoenix. I track this back into my system through a Pro Tools aux-channel where I automate overall volume and strap some further EQ (usually flux epure or Brainworx Digital V3), stereo and/or M/S when called for.
That track is routed onto a regular stereo audio track, where I put an Oxford Limiter to emulate the mastering stage in terms of limiting. Only for monitoring. Without that last stage, it's very hard to get the drums to sit right post mastering.
- Jens Bogren
I normally work with one session per song, or it will end up very cluster****ed. I also dislike the idea of having the exact same sound in all songs. Some albums have been done in one single session, but then I usually would end up with "save as" per song before the final stage of mixing.
I usually ask for a song to start with that is representative, and contains a shitload of elements. If I have access to rough mixes, I may write down a "mix path: which order I'm planning on mixing the songs.
Usually, I wanna do heavy and busy songs first, then slower songs and ballads last.
- Jens Bogren
[top]I'm interested in your thoughts about mixing (heavy) guitars.
I'd say the more distorted the guitars are, the less compression I'd use.
For full on heavy rhythm guitars, I use no compression. Not while recording, not while mixing. I will, on occasion, tame the low end, though, using something like Fabfilter ProMB. I might also use some tape emulation, which will compress to some extent.
Re: Eq - If it's a guitarist that is like that, the recorded sounds would normally be good. I love not having to re-amp. It's pretty rare that I come across someone that has a dogma about "their" sound. When I do, I honor that.
Re: compressors - Yes. They can be great tools. Use with caution. I avoid using them in parallel since the phase will normally be thrown off.
Re: Fader Rides - I'm with keyboard and mouse for over 10 years, and I rarely do old school fader automation. I do however automate volume, pan and plugin data like a maniac.
- Jens Bogren
[top]I would like to know your approach for tracking drums
Re close mics: In a perfect scenario, I want everything from the close mics. The use of triggers is never an end to itself for me. So it all depends on the recording, really!
Re OH and Room mics: I've been trying different things over the years. I'm still changing my approach depending on the project and the amount of cymbals.
I don't like X/Y OH's, it's getting too narrow for me. But everything from ORTF to a wide AB will do it, and sometimes I will use 3 OH mics or 2 different pairs. If I use 2 pairs, usually 1 of them will make it through the final mix. Same with the room: I usually record 1 Blumlein fairly close to the kit (3 meters, depending on the room), 1 mono mic, and one wider AB with omni's.
It also happens that I record a "hallway" microphone. My mic count on drums is usually pretty big, but like I said: not everything would make it on to the mix.
Regarding phase aligning, I never time align the OH to the snare. I do, however, time align L/R against each other if needed based on the snare, and I make sure I find a solid phase relationship against snare/toms/kick (in that priority order) around the natural time difference. Same with rooms.
Re: goal with room mics - To get a bigger drum sound and smooth out the sense of direct micing a bit. On some productions, I use them a lot, on others rarely at all.
Re: Favorite microphones/preamps for each part of the kit - I dig the 545 Unidyne on snare top, along with Josephson E22. Bottom would typically be an SM58. Usually, no tube pre's on direct mics. Neve pre's are amazing, so are vintage API's.
CAD M179
For toms, I would probably go with 421's or CAD M179. OH's would rock Englund's or SM81's since I have many of them. Best OH I recorded was C12's though, into V76's. Kick would normally be B52 or E602, subkick and U47fet. Rooms are usually some ribbons, and my old 414 EB. Usually with tube pre's.
Re: recording using eq/compression
I print to tape through recording chains. I would still use mix comp/EQ or whatever I need, but I never "save" processing to mix. I might go easy sometimes, but in general, I'm a heavy "committer".
- Jens Bogren
In a calibrated room, the main speakers should be where the math tells them to be, more or less. I tend to like my mains fairly close though, 60 degrees apart. I used to be on Barefoots, but I grew tired of the fact that it NEVER sounded that detailed no matter where I listened. I was basically mixing info that no one would ever hear. The NS10's are great in that regard, and I would not have survived Barefoots without them. This is my personal reflection.
When I tried Amphion's, I sort of felt like I was closer to the end listener while mixing. People rave about how detailed they are, but I've heard more detailed speakers. I think they are just detailed enough. I still rock out my NS10's though.
What I choose to mix a certain project the most on will depend on the current mood and a gut feeling more than anything else.
I've been using a single subwoofer forever, but recently in my new studio I've moved to stereo subs.
I try to keep my listening level fairly consistent. Changing between speakers can be hard, and I tend to do that when I have a natural break. I take breaks when I feel I'm losing it. If I feel sensitive, I might lower the volume. I'm not a very loud listener, but I try to listen as loud as I think works. It always gets better that way.
- Jens Bogren
[top]Do you have favourite tracking compressors for different parts of the drumkit?
I tend to go easy on compressors while tracking drums, but I sometimes track with a touch of 1176 on the snare, and maybe DBX 160 on the kick. I may also use some SSL compressor (also dBx) from our SSL 4K G Console. I also tend to like the Drawmer 1960 (both as pre and compressor) on room mics. I do however clip or distort quite a few elements in preamps or in the console: usually one of the room mic pairs, and sometimes the overheads. I love the sound of a slightly distorted overhead, where the snare is tucked away nicely.
While tracking, I don't change anything within the song on drums usually, unless it's a completely different part. Then I might change the snare and/or ride. While mixing, I tend to automate EQ on the kick drum channels to clear out some sub/low end on fast kick parts. For the snare, I might automate EQ and volume, or create new channels that I treat differently for e.g. blast beats.
UREI LA-3A
Bass compression will depend on the level of distortion. I usually record bass through an LA2A, LA3, or something faster like a Distressor. Hardware 1176 will usually take out too much low end, but some plugin 1176's will work on bass while mixing. I always balance the compression level to what's played, and for the notes to be even. Too much compression can make low notes go away too much. Manipulating the side chain is common.
- Jens Bogren
[top]How do you approach your mix? Do you work from bottom to top? or vice versa? Do you have a specific template? I heard you listen to references during work? How do you use them? What's your pet peeves when you listen to a track? What is it that you always do in your mix session, that you think other mixers don't usually do?
If I should summarize how I approach mixing, I usually start mixing the song in my head while listening to the rough mix (if there is one, yet another good reason to ask for it) and setting up basic track order, labeling, buses or FX etc.
I work mainly ITB with Pro Tools, and I tend to import some backbone structures either from templates I made, or other suitable sessions I've worked on. Then I start with drums, but I try to get especially rhythm guitars in as soon as possible (if there is such a thing in the song), or any other "big" frequency-eating element. That will greatly affect how I treat the drums.
From there I try to move quickly before I'm getting all too used to what I'm hearing. When I think I'm starting to achieve a basic sound, I would typically import some "references" to make sure my ears are somewhat calibrated. Once the core elements are in (drums/bass/rhythm guitars/lead vocals/important keys) I will start getting any "spice" elements in.
Then I make listening passes and fixes/automation of the song or certain sections until nothing bothers me anymore. Things that bother me are usually vocal related at that point, but it could also have to do with who's running the US, or the fact that Manchester United lost last night. Lastly, I will create any special FX that I may wanna throw in there.
Your question about doing something that no other mixer would do, is a good one. I wish I had a good answer. :-)
The sum of all actions is certainly unique, but I'm not sure any specific move is something "special" or unique. Well, I do create an aux or bus send from the main vocal track(s) that I feed into a brickwall limiter. That "signal" is then used only as a side chain against light duckers or compressors that will bring down conflicting elements as soon as the vocal is active. It saves some automation, and keeps the mix a bit more "alive". It's not unique, but at least something I don't see that many mixers doing.
You can see this in action around the third minute in this video:
- Jens Bogren
When it comes to mix feedback, I've seen it all. I always ask for a consolidated feed from one channel/producer/leader. Some bands are very feedback-heavy, whilst some won't have a single thing to say. It's interesting psychology.
- Jens Bogren
Hey man, wow that's such a hard question. If I have to choose or take a guess at my sonic preferences, then perhaps it would be something like (albums):
Random internal order. And there are many others that have a special place in my heart, like Amorphis, Opeth, Kreator, Soilwork to name a few. So that's why it's hard or impossible for me to judge this.
- Jens Bogren
Cheers man! Glad you’re digging ‘em. I’ve never did the IR thing before, but some people have been asking about it for a long time. So I decided to give it a go!
The thing is, I feel that EQ’ing a heavy rhythm guitar is hard as it is if the original is not close to what you want. If it’s a cab impulse response, it’s even harder. Kind of like working on a sound that lacks resolution.
I noticed that most or many 3rd party IR’s on the market were single mic setups of different positions and cabs. So I decided to try something different, where I would create a sound that works in a particular mix: one or several mics or even cabs blended to my taste, and both tracking and mix processed.
I did a bunch of “new” sounds, and I also went back to old productions and did the best I can re-creating those sounds (thank you, Dynamount!) to be able to capture an IR.
This was some weeks of painstaking work. :-) I do believe that I developed my own guitar recording skills during this period more than I have in years, though, so it was worth it.I know some IR makers are doing things such as using clean power amps or match EQ to remove any power amp coloration, and some people don't see it as much of an issue.
I did try a whole bunch of different power amps when doing the IR's, including guitar tube amp power sections. However, since this is emulated inside the actual amp plugin that you would put before the IR loader, it didn't make much sense. I don't think any of those IR's made it through beta testing.
The best success I had in recreating an actual setup and sound was using my Amphion 700 amps. They are super detailed and rich class D amps. More than half of the end product IR's were shot using that amp.
Amphion Amp700
- Jens Bogren
[top]What is your approach to drum tuning? Are you a hz/note (tunebot) or tension (drum dial, tension watch, torque key) kind of guy? Are there any tried-and-true tips or workflow that you seem to follow every time?
I'm old school when it comes to drum tuning, and prefer doing it by ear with a regular drum key. I do use Tension Watch from time to time. If you have a good sounding kit that can take and hold tuning well, it's pretty easy. I do work with drum techs too every time the budget allows.
I prefer having very fresh heads throughout the session. I usually change tom heads 2 or 3 times during a session and snare heads (top) for every song. I prefer using as thin heads as possible, depending on the drummer.
I absolutely despise any form of built in dampening on drum heads. I do dampen if and when I have to, but always as little as possible. I find it much easier to get a non-dampened snare to sit in a dense mix compared to something that's dampened to death. Especially if you support with triggers. Recording un-dampened is more difficult in a way since it will be even more important to keep tuning up to standard. Which brings us to your next question.
There are many tricks for maintaining drum tuning. It can be a nightmare, especially if you record on vintage drums.
I usually use lug-locks to see if and which screws that turned. I.e., I don't actually lock them that way. I use plumber's tape for that purpose, and I tie up new tape for each head change. I put this on both top and bottom heads. The bottom will not move much, but the top heads will. When they are getting hard to tune, I change heads.
One day I'd like to renovate all my snare drums with fine-threaded screws. A drum that is using that kind of system will keep its tuning much better.
- Jens Bogren
Hard methodical mixing, moving forward fast but in total spending a lot of time on the mixes. Identifying what the core of the song or part is. Automating like crazy. Finding the best compromises ('cause it's all about compromising when mixing projects like that).
I've touched the subject in another answer, and unfortunately, there are no easy tricks for this. It's about having done it a zillion times that will get you good mixes.
I must first state that I'm an advocate for "believable" metal productions, where it sounds like someone's actually playing.
That said, it usually needs to sound like very good players for the music to come together, especially if arrangements are dense. So delicate editing is an important part of my mixing. I used to do that myself, but it was killing creativity. Today I have 1 or 2 assistants that are trusted with different tasks. Linus Corneliusson (also an excellent mixer on his own), has worked with me for so long that he thinks like me. Otherwise, I would prefer doing it myself.
I spend a lot of time getting the performances right. Sometimes that's easy, and other times, it's hard. Whatever it takes.
I avoid Elastic Audio because of the sound quality, but I do use Beat Detective quite often on drums. If used sensibly, it's actually harder to fail compared to manual editing, and you can quickly try different quantization levels to see what serves the groove the best.
On vocals I do a lot of takes, and I usually comp on my own in down time. I tune when I have to or when I think it becomes better, but I truly hate the sound of vocal tuning. I use Autotune graphical mode, since I find Melodyne degrading the sound quality too much. But that was a while ago, and people claim it got better, but it still sounds like mp3 to me.
I have a family and can't stay in the studio all night like I used to do. So I compensate with being more experienced and efficient these days, and I use my assistants where it makes sense. Sometimes I would go home for dinner, stay home, and put the kids to sleep before rocking out another 2-3 hours in the studio. It's the producer schedule that has made me focus a bit more on mixing and mastering than production these days.
- Jens Bogren
No, this is again on the amp plugin side and nothing I can do while sampling the IR. I can, however, make sure that the impedance match is correct while sending my sweep or spike through my DA into the power amp. I've read that people are using re-amp boxes, which is (unless I'm completely mistaken) wrong. That Hi-Z output would be a poor impedance match for most line level power amps.
Especially if it's transformer balanced, the risk of losing highs (along with distortion) is imminent. This is Gearslutz, so I'm sure someone with better electronic knowledge will correct me. :-)
I would, however, not feed a re-amp box output into a line level input. That output is designed for high impedance guitar inputs. Going straight from the DA into the (in my case) Amphion 700 will render a better result.
- Jens Bogren
Radial X-Amp
For reamping a Radial JDI with Jensen transformer works for me, and I'm using the active X-Amp from the same company for re-amping. I choose something clean for my Di box preamp, like an AMEK CIB. I always choose my best AD (usually Forsell) for this too, since a Di might be heavily distorted when reamped, and thus revealing a poor s/n ratio.
When I set the sound, I make sure it can handle the lowest chugging that might take place on the album. It's quite irritating if you have a sound set, and then reach a part where something is distorting in an unpleasant way. But I don't do anything dynamically. I use my best possible mic positioning and blend, and then a touch of EQ, and perhaps some other gear for transformer sound. I never compress distorted rhythm guitars, at least not on the way in. If it's rock/punk oriented, I might run it through an LA3 ever so slightly.
And for the mic positioning, I can definitely recommend trying a product for remote controlled mic position. I use Dynamount myself since the moment they hit the market.
- Jens Bogren
I tend to think it's pretty close to the final sound when I do it. However, it's not until the rest of the mix comes into place that you can really tell. And at that point, I would do whatever I need to do EQ wise, or try to re-amp if necessary.
50% of the time I would stick to the original sound though (usually with some EQ mod), even if I favor the frequency response I'm getting from a slightly modified sound through re-amping. There is always something lost when the Di has to go through impedance shifts and AD/DA conversions, compared to plugging the guitar straight into the amp. In fact, back in the day I would avoid using a Di for that reason: it degrades the signal a bit. These days I'm a bit more practical. The ability of having a tuner connected (I put it on a feed from the DAW to avoid parallel connections before AD), the visual aid a Di brings, and the safety backup in being able to reamp outweighs the drawbacks.
I personally think heavy guitars gain soundwise from being downtuned. It's more like gravel instead of sand if I should try to describe it. Thicker strings play their part too. Bass, however, is difficult when it creeps way below standard tuning. Especially since the guitars start to have a lot of conflicting fundamental low end, it becomes a matter of finding harmonics in the bass where the tonal info can get through. Distortion becomes important in that regard.
Sometimes, but not always, I would try and tame some low end with a multiband compressor or perhaps a dynamic EQ, but I also use limiters for that last low end trim on bass guitar. Same with guitars, minus the limiter (usually).
- Jens Bogren
I tend to do it, either with the (quite low q:ed) HP-filter in SSL4k, or a bit steeper with something like FabFilter or Digital V3. I don't ALWAYS do it though, it depends. What I usually do is that I try some different low-cuts (A-B testing), with or without a general 180 degree phase shift of the track. That can matter how it's coming through against other low-end heavy tracks in the mix.
In fact, checking the "absolute phase" is something I tend to do on many elements in the mix. As well as on the main mix while mastering. I'm not sure if this would make a massive difference, but it does make a difference in my listening environment, and thus it will affect the way I approach the track.
- Jens Bogren
I most of the time end at about 100Hz (24db/oct) because i like clarity but I'm not sure if that's always the right path to follow.
I have no rule, really. I do tend to stay lower than 24dB, though, usually 12 or 18. Phase shift gets higher the higher you go with the Q, and I wouldn't even think of using a "brick wall" low cut. On masters, I tend to try between some various low cuts (if needed), including linear phase ones (if ripple can be kept low).
- Jens Bogren
[top]How do you manage the interaction between bass and guitars? In other words,
I want the guitars to sound fat but distinct and "cool". My goal for bass is for it to be even, have some nice bark in the mids, and that nice expensive string sound that you can get by hi-passing a Di track really high up, like 5k.
I like tube amps like Ampeg, I love using guitar heads too, and I'm a fan of SansAmp.
Tech 21 Sans Amp PSA-1.1
- Jens Bogren
Some will provide almost too good rough mixes (and they can't stop referring to them, similar to the "demo disease"), while on other projects, I'd have to ask for a rough mix. I always want them, not so much as a guide, but they serve the purpose of mental preparation while setting up my basic buses and sorting tracks etc. That way, I can build a sort of "goal sound" in my head, and I will know what to expect arrangement wise and plan for the order of things to be mixed. It also confirms that stuff is in sync and actually present among the multis.
When it comes to the band's vision, I usually get that written instead. Metal music is hard to mix, and roughs usually sound like... crap. :-)
- Jens Bogren
The listening environment is key. I've been having the good fortune of having really nice control rooms all along. Paired with good monitors, I suppose you hear more of all that nastiness that seems to be especially associated with "noise" music like metal. ;-)
I didn't tour, so my ears were never exposed to too much noise. I feel I've been almost over the top with making sure stuff didn't resonate in a harsh manner on my mixes. I used to mix on KRK V8's back in the day, and those have a pretty defined mid area around 3k, where I imagine the crossover is.
I've been trying hard the last ten years to not over-clean my mixes. You can really lose your mix and what's important fast if you start to focus on these things instead of more important stuff that actually will matter on a regular, less pronounced speaker system.
- Jens Bogren
FabFilter Pro-Q3
I'm using the Brainworks SSL4000 emulation a lot, that's my bread and butter kinda plugin on almost everything. Before that one showed up I used the Waves one.
I'm also using some UA plugins, like their 1176 RevA, which I find to be great. I use that one on vocals a lot. LA2 is a bit harder in the plug-in form, and I stay hardware for now. For more surgical EQ I tend to use flux epure (great sound), and FabFilter Pro-Q3 (very convenient, fast, and has dynamic abilities).
Altiverb is another plugin that I started to use only some years ago that really changed the way I'm using verbs on, especially acoustic elements. Soundtoys see a lot of use, like the good 'ol Echoboy and the Devil-Loc. Mostly on guitars and vocals. To name a few.
- Jens Bogren
Thanks, Sacha. That's hard for me to judge and evaluate. I think a lot of it has to do with the source material. I tend to get projects that call for a lot of depth, perhaps. If I'm the producer and get to record the project myself, it's also easier to keep track of the sonic quality throughout the process. Every little bit counts.
One other thing that I might be doing a little different is the fact that if I use references, I tend to go for more rock oriented stuff rather than "competing" metal mixes. I'm a fan of several modern classic mixing engineers like Rich Costey, Tim Palmer, Tom Lord-Alge, and Andy Wallace, to name a few.
- Jens Bogren
[top]Could you share some thoughts about your new studio, such as:
Well, I think the bottom line is that I'm a crazy person. :-)
Well, this is hopefully the last studio that I build. I identified the current and probable future need for my business (myself and my employees, there are 3 of them right now) and decided to build something that I can stay happy with. This is a ground up facility, built in a way that could serve a use as an investment also beyond using it as a studio, should it come to that.
One other key factor is that it's not a commercial studio per se: it's a tool for us who work there to use, like a private studio. Renting out the place as a studio for other producers and artists would never work in today's climate, as you say.
It was nice to be able to design everything based on the 20 years of experience of how I want a facility to function. Things that I usually find are subpar in studios are e.g. quiet, proper ventilation, and cooling. Other things that artists will appreciate are five individual bedrooms and a nice living area connected to the studio. At the end of the day, the artist will care more about the ability to do laundry and having access to a good dishwasher than what compressors you have.
The actual control room designs are a treat, though. Drawn by Jens Eklund from Resonator/Holonor, the design includes custom stereo subs for three main control rooms and perfectly tuned main speaker systems from Amphion. The approach of delivering subs custom for each room has resulted in amazing low end performance.
There will be some changes, but I'm not sure of what exactly. I'm moving in permanently during the summer, so we'll see what I'll need.
I am, however, changing my interfaces to Lynx Aurora N in the mix/tracking rooms, and Lynx Hilo over Dante in the mastering room.
Bogren Digital : https://bogrendigital.com/
[top]
Can you please describe your approach in bass when you mix? - matrix
Well, as loud and proud as I dare. :-)
It's impossible to get a good bass sound out of something that's sub-par on tape. Re-amping will help, but not as much as for guitars. The difference between a poor ESP bass with bad strings and a great Sadowsky with fresh strings is enormous. I change bass strings for every song, or even more often. As soon as it starts sounding dead.
Mixing wise, I often blend a fairly clean amp with SansAmp or some other distortion, and a high-passed (around 5k) and limited Di for re-inject string sound into the mix. I tend to use different compressors in series, some in parallel. I might end up with some sort of multiband compression, too. Sometimes I feed the bass to the drum bus, and to the parallel drum compressor. My best tip is to not solo listen to the bass unless you absolutely have to. Also, do different sounds for whenever the bass is playing without rhythm guitars.
- Jens Bogren
[top]Do You Cut some Bass from SansAmp (hardware or plugin?) And some high from DI? - Hal
Sound Radix Auto-AlignIt depends, no rules. On Di, sometimes I use only the sub info and/or the very high frequencies (5k+) and blend that into my amp signal. That way, I re-vitalize the bass sound with solid low end, and nice string action in the highs.
If you blend stuff like this, make sure it's in phase. I tend to use the Auto-Align Plugin from Sound Radix.
- Jens Bogren
[top]I'm curious what hardware units you find most essential to your workflow/sound? And the applications in which you would find them the most important?
And what situations would it not matter to you? - Pardonband
The mix hardware I would take with me to an isolated island would probably be my speakers and my beloved LA2 that I never managed to replace with plugins.
The latter is on most of my lead vocal tracks. But I don't have too many "must haves", I use what's available.
The coffee machine is extremely important, though. Strong, or stronger.
The most important thing while tracking acoustic elements (including vocals) is the room, IMO. For vocals, the mic is very important, though. It seems to be almost a lost art, cutting good sounding vocals. The same goes for the control room while mixing, more important than the speakers.
- Jens Bogren
[top]Do you take any steps to ensure stereo information collapses to mono without sounding all phasey/mushy? Particularly rhythm guitars! Or given the nature of the genre, do you just accept that guitars are always going to sound better in stereo? - Robsilentcity
If it sounds phasey, then something is wrong. But yeah, it will always sound better and louder in stereo.
I dislike going much beyond the 100% L/R field, both because of mono compatibility and the weird headphone sensation it creates. It's also a disaster for the vinyl format. I use mono listening like you describe to do some low end / low mid cleaning up, and to better hear what's messing things up in a dense arrangement. I mix 99% in stereo though.
- Jens Bogren
[top]From what I understand you are using harmonic distortion a lot.
Can you give some examples ? I mean in which tracks and with what plugins (or hardware) - Matrix
Distortion and saturation are a great way to tame low end, low mids, and create new harmonics in order for stuff to open up and come through a dense mix.
I use some hardware like the Distressor, pre-amp distortion (I have some V73 clones from Vintagedesign that work for this), Thermionic Culture Vulture, but also compressors like a vintage silverfaced LA2A that can be nicely driven, along with some 1176's that can be pushed too.
In the box, I tend to reach for Decapitator (great plugin), and the Manny Marroquin Distortion, or the Plugin Alliance Black Box. Tracks I use it on would be vocals (when called for), sometimes for cymbals, and a lot of times on keyboards. I distort bass too, usually with SansAmp though.
Thermionic Culture Vulture
- Jens Bogren
[top]Do you find yourself working more on your NS10’s or the Barefoots? Do you prefer one for tracking and the other for mixing? What percentage do you spent on each monitor during a mix? Where else do you like to check your mixes, small consumer system (like Bose or something like that), cellphone, car, Headphones? - Oroz
I'm not on Barefoots anymore, but I was for many years.
Anyway, it depends on my mode. If I feel that I lack inspiration in one pair, I switch to the other. A bit dumb.
I tend to get the best results though if I start on the bigger nearfields (I'm using Amphion Two18), and then switch to NS10's to finish up the mix. When I feel ready, I switch back to the mains and clean up the mix. I try to switch during natural breaks, like before and after lunch, if possible.
- Jens Bogren
[top]What would you buy with a budget of say 10k $ (aside from PC, room treatment, plugins and instruments) in order to start a studio from the ground up? - Gegge
The listening environment is very important, but great mixes can be done on cheap speakers. A good sound card, a pair of decent pre-amps with transformers, an SM7, a pair of SM57's would be a good start. I guess it's about finding the gear that really works on a budget, and those mics are classics for a reason.
For the sound card, I would probably go for a UA system that allows tracking in realtime through plugins. Very handy. If you're about to record sessions with a full band, it's a bit of a different story since it requires many inputs and a good low latency monitoring system for each musician.
I don't really keep track of the ever-growing market for cost effective studio gear, so I better stay away from trying to give more advice on the matter.
- Jens Bogren
Shure SM91[top]The Great Cold Distance by Katatonia - Can you recall what mics you used for the kick drum, and can you recall what kind of guitars/pickup/amp were used on the rhythm guitars? - Andypandydandy
I used a B52 in the resonance hole along with an SM91 inside the kick, Topped off with a U47FETin front of the kick. The rhythm guitars where quad tracked in B on an ESP guitar with active Seymor Duncan's, through a MesaDual Rectifier into an MF400 Marshall cab. Same for all 4 guitars, against better knowledge. But it sounded great.
- Jens Bogren
[top]Tips on getting lead guitars to cut through just right? - s wave
I re-amp stuff I get in for mixing quite often.
This way, it’s easier to find a sound that works for the mix.
I’d also avoid having a lead sound that is recorded with the same setup (especially the cab) as the rhythm guitars. That is the most important tip I can give. I see it all too often: “This is our sound, let’s record all guitars with it”...(wong!)
- Jens Bogren
[top]Great job on the cabinet impulse release! Happy owner here!! I'd like to ask you, how do you go about mixing elements such as choirs and other orchestral elements (be it string sections, brass sections or even tympani) within a rock or metal production? - Greg_56
Cheers Greg!
Well, with great pain.
It’s super hard to get a usable sounding band while “adding” an orchestra. Most important is the arrangements I’d say. Fleshgod Apocalypse are the masters of that craft, weaving the name into the orchestra during the early stages of orchestration and writing.
The second most important is the orchestra sounds. A real orchestra will always sounds the best but can be hard to balance. Sampled orchestra (broken out into every individual element) will give you more control, but it will sound horrible if it’s not done right and with great libraries. The actual mixing part: no secrets or tricks, just the basic hard work. More distortion on whatever needs to come forward and thinner sounds in general to make stuff fit, perhaps.
- Jens Bogren
[top]I'd like to know more about your mastering methods:
- How do you approach the mastering stage (your own mixes and external stuff)?
- What is typically your mastering chain? - 3Julz666
Good questions. I do way more albums as a mastering engineer per year than I do mixing, so I was hoping to get some questions on these matters.
Sonnox Oxford LimiterThen I might "shave" the clipped signal further with another limiter (0,5dB or so, usually compensating for the fact that I need to bring down the final output level to -0,2 or lower, depending on sample rate, etc.
For ADM (used to be Mastered for iTunes), I bring it down lower, around -1dB. Achieving volume has a lot to do with having a mix that is suitable for loudness. Then getting the frequency response right, and lastly having the gain stages in harmony: a little of many things, not trying to achieve final volume through one method only.
I use as much headroom as I can get, really. I think it's a good idea to get rid of anything (like plugins that probably could be done better in a separate mastering process.
It can be important to provide the mastering engineer with a "listening reference" though, containing all the bells and whistles from the mix stage.
I go as loud as I think the mix has potential for. Sometimes the client will ask me to push it louder, and then we might have a discussion about it. Sometimes I will provide 2 options for the first song with different output levels. Loudness is getting less important, but at least in my line of music it's still very common to want it freakin' loud. I can only do so much about that.
Re switching mixing brain to mastering brain - it can be very hard. I really prefer some days between mixing and mastering. The good thing is if I have to work too hard during mastering, I will go back into the mix.
One reflection I can share is that I think many mastering engineers are trying too hard, and thus altering the mixes where the cons of whatever they're trying to do outweigh the pros by far. Especially if it's a mix engineer trying to master. I've been there for sure.
In general, I really recommend working with an external engineer. These days I have Tony Lindgren inhouse, even though I can't help myself messing with him when he's mastering my stuff. Control freak to the core.
Re Limiters & clipping: I do not like limiters much, I prefer AD clipping or possibly some other digital clipping method. When it gets ugly, it gets ugly, but up until that point it's way more transparent than limiters. To reach "maximum" level (a relative term), I do however pre-treat the mix with some limiting (usually Oxford Limiter, the same one as I use on my monitor return while mixing to "emulate" mastering).
Re mastering chain: Tough question, I never reflected over a certain approach. It's instinct, and mostly it's about different stages of EQ. Less compression than people think, and a correct (or what works for me) gain staging through various processes to achieve the desired volume. I tend to work in MS a bit, but mainly stereo.
I do quite a lot of stem mastering work since people know me probably more through my mixing work. Then they think I can fix their mix. ;-)
A typical chain can be: Pro Tools session, possibly some Epure or Digital V3 EQ, maybe some limiter shaving, out through my Forsell MADA-2, possibly through my RND summing system (for the transformers), off to my Gyratec, into my SSL XLogic Compressor, into my Thermionic Culture Phoenix (usually no compression), onwards into MADA-2 again, into an aux track in Pro Tools where I might add another limiter, routed to an audio track where I print.
I might also use the LinMB before going analogue, and on occasion, I'd use the Voxengo CurveEQ.
Forssell Technologies MADA-2
[top]Re Björn Strid’s vovals on Soilwork's The Living Infinite, How did you get that gloss/sheen without sounding harsh? They're so smooth and controlled. - Robsilentcity
Vocals are the most difficult thing to mix IMO. It requires careful planning and trial and error to find the right comp/eq/distortion/de-essing that will look a bit different every time. I’ve described that on here earlier, that I like to make several attempts on key elements like this. Then I A/B or blind test myself for the one that was the most successful chain or attempt. Only when I have the core sound, I would proceed with delay/reverb or whatever I’m using. Automaton is also super important to me when it comes to (especially) vocals. I automate more or less every phrase or word or even syllable until it sits where I want it.
- Jens Bogren
[top]What are your thoughts are on setting up dual/quad tracked guitars with regard to amps, cabs, and mic positions. Do you tend to keep them consistent between tracks, or do you prefer the sound of different amps & cabs mixed together? - DivideByZero
If you're an artist that is looking for "your sound", it makes sense to find something you like and stick to that method. As a producer, I work with a variety of bands (even if most of them are heavy acts). This calls for a unique approach since every new situation will be and sound different from previous ones.
Theoretically speaking, I prefer different cabs for a secondary rhythm pair. It works better in the low end and overall "phase coherency". However, I like to keep an empirical approach to the method I use for creating a sound: I create several every time I'm in that situation, and then I test myself and the client to which amp/cab combinations that work the best for the album. It takes me about a day for each project.
This test also includes whether I wanna go with 2 or 4 guitars. Sometimes this will result in 4 guitars of the same setup, while other times, it will be only 2 guitars with one different setup per side.
So, I have no quick fixes here. Even after 20 years, I prefer doing it this way. If I would stick to a path I think I've found, I would stagnate. That being said, the gear I've collected over the years are all gear that I like and could be contenders on any album I do. So it's not a matter of trying every amp and cab in the world every time. :-)
- Jens Bogren
STL Tones Ignite Libra
[top]I'm a proud owner of your IR pack and it's now my go-to set! Are any of the IRs intended to be mixed together, or are they all conceived individually? - DivideByZero
Glad you like them! Each of them is created individually. Some were created as a left or right guitar track against something else, but I never blended them during the creation process. That's a new dimension that surely should be tried out. I'm using STL Libra for these where the blending capability is pretty amazing, and there are 5 blending presets included in the latest Libra update.
Blend long and prosper!
- Jens Bogren
[top]Mix bus chain and summing devices? - Hal
I developed a workflow with summing devices that works for me when I moved to working ITB/hybrid. Soundwise, I think there's little difference in actual summing. However, many of these units have transformers on the output, and that makes a difference. I started out using a Vintage Design unit, moved to Neve 8816 (pots are horrible), and now I'm using a Rnd 5059 that is very solid. I've been thinking about trying something braver, like Thermionic Culture, but we'll see about that.
While I do use hardware inserts, I've replaced most of my chains with software equivalents for recallability. I have some I can't live without yet, but I print them as soon as I can.
Rupert Neve Designs 5059That track is routed onto a regular stereo audio track, where I put an Oxford Limiter to emulate the mastering stage in terms of limiting. Only for monitoring. Without that last stage, it's very hard to get the drums to sit right post mastering.
- Jens Bogren
[top]Album workflow, one project or a project per song? - HoracioCastro
I normally work with one session per song, or it will end up very cluster****ed. I also dislike the idea of having the exact same sound in all songs. Some albums have been done in one single session, but then I usually would end up with "save as" per song before the final stage of mixing.
I usually ask for a song to start with that is representative, and contains a shitload of elements. If I have access to rough mixes, I may write down a "mix path: which order I'm planning on mixing the songs.
Usually, I wanna do heavy and busy songs first, then slower songs and ballads last.
- Jens Bogren
[top]I'm interested in your thoughts about mixing (heavy) guitars.
Compression : Some people do it, but I really don't get... What are your thoughts on the matter?
Eq : Most guitarists are very picky with "their sound". Do you make it a point not to alter the tone too much or do you go with whatever you feel like the music should sound like.
Dynamic EQ and/or compression : Do you use it ?
Fader rides : how much of it do you do ? - Jackie Moon
I'd say the more distorted the guitars are, the less compression I'd use.
For full on heavy rhythm guitars, I use no compression. Not while recording, not while mixing. I will, on occasion, tame the low end, though, using something like Fabfilter ProMB. I might also use some tape emulation, which will compress to some extent.
Re: Eq - If it's a guitarist that is like that, the recorded sounds would normally be good. I love not having to re-amp. It's pretty rare that I come across someone that has a dogma about "their" sound. When I do, I honor that.
Re: compressors - Yes. They can be great tools. Use with caution. I avoid using them in parallel since the phase will normally be thrown off.
Re: Fader Rides - I'm with keyboard and mouse for over 10 years, and I rarely do old school fader automation. I do however automate volume, pan and plugin data like a maniac.
- Jens Bogren
[top]I would like to know your approach for tracking drums
- What do you want to achieve with the close mics (what do you want to get from recording and what can be added with samples in the mix)
-Whats your favorite stereo techniques for OH and Room mics?, do you align the overheads to the snare if you are using AB technique?, how do you choose the height and the distance of the OH/Room mics (how do you deal with phase issues)
-Whats your goal with room mics? (for example smack with compression the mono room mic)
-Favorite microphones/preamps for each part of the kit.
- Do you like to record using eq/compression? - Aethyr
Re close mics: In a perfect scenario, I want everything from the close mics. The use of triggers is never an end to itself for me. So it all depends on the recording, really!
Re OH and Room mics: I've been trying different things over the years. I'm still changing my approach depending on the project and the amount of cymbals.
I don't like X/Y OH's, it's getting too narrow for me. But everything from ORTF to a wide AB will do it, and sometimes I will use 3 OH mics or 2 different pairs. If I use 2 pairs, usually 1 of them will make it through the final mix. Same with the room: I usually record 1 Blumlein fairly close to the kit (3 meters, depending on the room), 1 mono mic, and one wider AB with omni's.
It also happens that I record a "hallway" microphone. My mic count on drums is usually pretty big, but like I said: not everything would make it on to the mix.
Regarding phase aligning, I never time align the OH to the snare. I do, however, time align L/R against each other if needed based on the snare, and I make sure I find a solid phase relationship against snare/toms/kick (in that priority order) around the natural time difference. Same with rooms.
Re: goal with room mics - To get a bigger drum sound and smooth out the sense of direct micing a bit. On some productions, I use them a lot, on others rarely at all.
Re: Favorite microphones/preamps for each part of the kit - I dig the 545 Unidyne on snare top, along with Josephson E22. Bottom would typically be an SM58. Usually, no tube pre's on direct mics. Neve pre's are amazing, so are vintage API's.
CAD M179Re: recording using eq/compression
I print to tape through recording chains. I would still use mix comp/EQ or whatever I need, but I never "save" processing to mix. I might go easy sometimes, but in general, I'm a heavy "committer".
- Jens Bogren
[top]Whats your speaker set up? - Mahdes
In a calibrated room, the main speakers should be where the math tells them to be, more or less. I tend to like my mains fairly close though, 60 degrees apart. I used to be on Barefoots, but I grew tired of the fact that it NEVER sounded that detailed no matter where I listened. I was basically mixing info that no one would ever hear. The NS10's are great in that regard, and I would not have survived Barefoots without them. This is my personal reflection.
When I tried Amphion's, I sort of felt like I was closer to the end listener while mixing. People rave about how detailed they are, but I've heard more detailed speakers. I think they are just detailed enough. I still rock out my NS10's though.
What I choose to mix a certain project the most on will depend on the current mood and a gut feeling more than anything else.
I've been using a single subwoofer forever, but recently in my new studio I've moved to stereo subs.
I try to keep my listening level fairly consistent. Changing between speakers can be hard, and I tend to do that when I have a natural break. I take breaks when I feel I'm losing it. If I feel sensitive, I might lower the volume. I'm not a very loud listener, but I try to listen as loud as I think works. It always gets better that way.
- Jens Bogren
[top]Do you have favourite tracking compressors for different parts of the drumkit?
-Are there pieces of the drumkit that you compress harder than others in this tracking stage?
-How do you deal with changes like going from blastbeats/fast double kicks to "regular" slower beats? - The-Zeronaut
I tend to go easy on compressors while tracking drums, but I sometimes track with a touch of 1176 on the snare, and maybe DBX 160 on the kick. I may also use some SSL compressor (also dBx) from our SSL 4K G Console. I also tend to like the Drawmer 1960 (both as pre and compressor) on room mics. I do however clip or distort quite a few elements in preamps or in the console: usually one of the room mic pairs, and sometimes the overheads. I love the sound of a slightly distorted overhead, where the snare is tucked away nicely.
While tracking, I don't change anything within the song on drums usually, unless it's a completely different part. Then I might change the snare and/or ride. While mixing, I tend to automate EQ on the kick drum channels to clear out some sub/low end on fast kick parts. For the snare, I might automate EQ and volume, or create new channels that I treat differently for e.g. blast beats.
UREI LA-3A- Jens Bogren
[top]How do you approach your mix? Do you work from bottom to top? or vice versa? Do you have a specific template? I heard you listen to references during work? How do you use them? What's your pet peeves when you listen to a track? What is it that you always do in your mix session, that you think other mixers don't usually do?
When do you know "it's done"? - BlackwingGabriel
If I should summarize how I approach mixing, I usually start mixing the song in my head while listening to the rough mix (if there is one, yet another good reason to ask for it) and setting up basic track order, labeling, buses or FX etc.
I work mainly ITB with Pro Tools, and I tend to import some backbone structures either from templates I made, or other suitable sessions I've worked on. Then I start with drums, but I try to get especially rhythm guitars in as soon as possible (if there is such a thing in the song), or any other "big" frequency-eating element. That will greatly affect how I treat the drums.
From there I try to move quickly before I'm getting all too used to what I'm hearing. When I think I'm starting to achieve a basic sound, I would typically import some "references" to make sure my ears are somewhat calibrated. Once the core elements are in (drums/bass/rhythm guitars/lead vocals/important keys) I will start getting any "spice" elements in.
Then I make listening passes and fixes/automation of the song or certain sections until nothing bothers me anymore. Things that bother me are usually vocal related at that point, but it could also have to do with who's running the US, or the fact that Manchester United lost last night. Lastly, I will create any special FX that I may wanna throw in there.
Your question about doing something that no other mixer would do, is a good one. I wish I had a good answer. :-)
The sum of all actions is certainly unique, but I'm not sure any specific move is something "special" or unique. Well, I do create an aux or bus send from the main vocal track(s) that I feed into a brickwall limiter. That "signal" is then used only as a side chain against light duckers or compressors that will bring down conflicting elements as soon as the vocal is active. It saves some automation, and keeps the mix a bit more "alive". It's not unique, but at least something I don't see that many mixers doing.
You can see this in action around the third minute in this video:
[top]Do you find yourself having to deal with conflicting directions from band members, mix revision notes that are page long essays, and similar situations? Or have you implemented certain rules in place to avoid things like that based on your past experiences? - Jacenty
When it comes to mix feedback, I've seen it all. I always ask for a consolidated feed from one channel/producer/leader. Some bands are very feedback-heavy, whilst some won't have a single thing to say. It's interesting psychology.
- Jens Bogren
[top]Your personal favorite mixes you've done? - Phosphenetre
Hey man, wow that's such a hard question. If I have to choose or take a guess at my sonic preferences, then perhaps it would be something like (albums):
- Exhorder - Mourn the Southern Sky
- Witchcraft: Legend
- Mokoma: Ihmissokkelo
- Septic Flesh: Codex Omega
- Katatonia: Fall of Hearts
- Sepultura: Quadra
Random internal order. And there are many others that have a special place in my heart, like Amorphis, Opeth, Kreator, Soilwork to name a few. So that's why it's hard or impossible for me to judge this.
- Jens Bogren
[top]I got your cab IR's and they are excellent. Can you describe the way that they were recorded ? Is there any eq ? Finally do you use any processing on the DI'd signal or after the recording when you reamp? - matrix
Cheers man! Glad you’re digging ‘em. I’ve never did the IR thing before, but some people have been asking about it for a long time. So I decided to give it a go!
The thing is, I feel that EQ’ing a heavy rhythm guitar is hard as it is if the original is not close to what you want. If it’s a cab impulse response, it’s even harder. Kind of like working on a sound that lacks resolution.
I noticed that most or many 3rd party IR’s on the market were single mic setups of different positions and cabs. So I decided to try something different, where I would create a sound that works in a particular mix: one or several mics or even cabs blended to my taste, and both tracking and mix processed.
I did a bunch of “new” sounds, and I also went back to old productions and did the best I can re-creating those sounds (thank you, Dynamount!) to be able to capture an IR.
This was some weeks of painstaking work. :-) I do believe that I developed my own guitar recording skills during this period more than I have in years, though, so it was worth it.I know some IR makers are doing things such as using clean power amps or match EQ to remove any power amp coloration, and some people don't see it as much of an issue.
I did try a whole bunch of different power amps when doing the IR's, including guitar tube amp power sections. However, since this is emulated inside the actual amp plugin that you would put before the IR loader, it didn't make much sense. I don't think any of those IR's made it through beta testing.
The best success I had in recreating an actual setup and sound was using my Amphion 700 amps. They are super detailed and rich class D amps. More than half of the end product IR's were shot using that amp.
Amphion Amp700- Jens Bogren
[top]What is your approach to drum tuning? Are you a hz/note (tunebot) or tension (drum dial, tension watch, torque key) kind of guy? Are there any tried-and-true tips or workflow that you seem to follow every time?
What is your approach to MAINTAINING the selected drum tuning during recording? - The-Zeronaut
I'm old school when it comes to drum tuning, and prefer doing it by ear with a regular drum key. I do use Tension Watch from time to time. If you have a good sounding kit that can take and hold tuning well, it's pretty easy. I do work with drum techs too every time the budget allows.
I prefer having very fresh heads throughout the session. I usually change tom heads 2 or 3 times during a session and snare heads (top) for every song. I prefer using as thin heads as possible, depending on the drummer.
I absolutely despise any form of built in dampening on drum heads. I do dampen if and when I have to, but always as little as possible. I find it much easier to get a non-dampened snare to sit in a dense mix compared to something that's dampened to death. Especially if you support with triggers. Recording un-dampened is more difficult in a way since it will be even more important to keep tuning up to standard. Which brings us to your next question.
There are many tricks for maintaining drum tuning. It can be a nightmare, especially if you record on vintage drums.
I usually use lug-locks to see if and which screws that turned. I.e., I don't actually lock them that way. I use plumber's tape for that purpose, and I tie up new tape for each head change. I put this on both top and bottom heads. The bottom will not move much, but the top heads will. When they are getting hard to tune, I change heads.
One day I'd like to renovate all my snare drums with fine-threaded screws. A drum that is using that kind of system will keep its tuning much better.
- Jens Bogren
[top]Do you or your employees regularly do editing in projects you receive to mix or will you generally leave the tracks as they are? - B36arin
Hard methodical mixing, moving forward fast but in total spending a lot of time on the mixes. Identifying what the core of the song or part is. Automating like crazy. Finding the best compromises ('cause it's all about compromising when mixing projects like that).
I've touched the subject in another answer, and unfortunately, there are no easy tricks for this. It's about having done it a zillion times that will get you good mixes.
I must first state that I'm an advocate for "believable" metal productions, where it sounds like someone's actually playing.
That said, it usually needs to sound like very good players for the music to come together, especially if arrangements are dense. So delicate editing is an important part of my mixing. I used to do that myself, but it was killing creativity. Today I have 1 or 2 assistants that are trusted with different tasks. Linus Corneliusson (also an excellent mixer on his own), has worked with me for so long that he thinks like me. Otherwise, I would prefer doing it myself.
I spend a lot of time getting the performances right. Sometimes that's easy, and other times, it's hard. Whatever it takes.
I avoid Elastic Audio because of the sound quality, but I do use Beat Detective quite often on drums. If used sensibly, it's actually harder to fail compared to manual editing, and you can quickly try different quantization levels to see what serves the groove the best.
On vocals I do a lot of takes, and I usually comp on my own in down time. I tune when I have to or when I think it becomes better, but I truly hate the sound of vocal tuning. I use Autotune graphical mode, since I find Melodyne degrading the sound quality too much. But that was a while ago, and people claim it got better, but it still sounds like mp3 to me.
I have a family and can't stay in the studio all night like I used to do. So I compensate with being more experienced and efficient these days, and I use my assistants where it makes sense. Sometimes I would go home for dinner, stay home, and put the kids to sleep before rocking out another 2-3 hours in the studio. It's the producer schedule that has made me focus a bit more on mixing and mastering than production these days.
- Jens Bogren
[top]The impedance load on the amplifier can affect its behavior quite a lot (which in turn will affect the impulses being made/how they'll sound in use). Was this something you took into account? - Machinated
No, this is again on the amp plugin side and nothing I can do while sampling the IR. I can, however, make sure that the impedance match is correct while sending my sweep or spike through my DA into the power amp. I've read that people are using re-amp boxes, which is (unless I'm completely mistaken) wrong. That Hi-Z output would be a poor impedance match for most line level power amps.
Especially if it's transformer balanced, the risk of losing highs (along with distortion) is imminent. This is Gearslutz, so I'm sure someone with better electronic knowledge will correct me. :-)
I would, however, not feed a re-amp box output into a line level input. That output is designed for high impedance guitar inputs. Going straight from the DA into the (in my case) Amphion 700 will render a better result.
- Jens Bogren
[top]What's your approach to mixing downtuned guitars and bass? - jugetsu85
Radial X-AmpWhen I set the sound, I make sure it can handle the lowest chugging that might take place on the album. It's quite irritating if you have a sound set, and then reach a part where something is distorting in an unpleasant way. But I don't do anything dynamically. I use my best possible mic positioning and blend, and then a touch of EQ, and perhaps some other gear for transformer sound. I never compress distorted rhythm guitars, at least not on the way in. If it's rock/punk oriented, I might run it through an LA3 ever so slightly.
And for the mic positioning, I can definitely recommend trying a product for remote controlled mic position. I use Dynamount myself since the moment they hit the market.
- Jens Bogren
[top]How far from the final product is the raw micked up guitar sound? - Akarawd
I tend to think it's pretty close to the final sound when I do it. However, it's not until the rest of the mix comes into place that you can really tell. And at that point, I would do whatever I need to do EQ wise, or try to re-amp if necessary.
50% of the time I would stick to the original sound though (usually with some EQ mod), even if I favor the frequency response I'm getting from a slightly modified sound through re-amping. There is always something lost when the Di has to go through impedance shifts and AD/DA conversions, compared to plugging the guitar straight into the amp. In fact, back in the day I would avoid using a Di for that reason: it degrades the signal a bit. These days I'm a bit more practical. The ability of having a tuner connected (I put it on a feed from the DAW to avoid parallel connections before AD), the visual aid a Di brings, and the safety backup in being able to reamp outweighs the drawbacks.
I personally think heavy guitars gain soundwise from being downtuned. It's more like gravel instead of sand if I should try to describe it. Thicker strings play their part too. Bass, however, is difficult when it creeps way below standard tuning. Especially since the guitars start to have a lot of conflicting fundamental low end, it becomes a matter of finding harmonics in the bass where the tonal info can get through. Distortion becomes important in that regard.
Sometimes, but not always, I would try and tame some low end with a multiband compressor or perhaps a dynamic EQ, but I also use limiters for that last low end trim on bass guitar. Same with guitars, minus the limiter (usually).
- Jens Bogren
[top]What is your philosophy on low cutting distorted Metal/Rock rhythm guitars (in relationship to the tuning of the guitars)? - AAGG
I tend to do it, either with the (quite low q:ed) HP-filter in SSL4k, or a bit steeper with something like FabFilter or Digital V3. I don't ALWAYS do it though, it depends. What I usually do is that I try some different low-cuts (A-B testing), with or without a general 180 degree phase shift of the track. That can matter how it's coming through against other low-end heavy tracks in the mix.
In fact, checking the "absolute phase" is something I tend to do on many elements in the mix. As well as on the main mix while mastering. I'm not sure if this would make a massive difference, but it does make a difference in my listening environment, and thus it will affect the way I approach the track.
- Jens Bogren
[top]How far up would you go with you low cut filters and which Slope (dB/oct) do you prefer? - AAGG:
I most of the time end at about 100Hz (24db/oct) because i like clarity but I'm not sure if that's always the right path to follow.
I have no rule, really. I do tend to stay lower than 24dB, though, usually 12 or 18. Phase shift gets higher the higher you go with the Q, and I wouldn't even think of using a "brick wall" low cut. On masters, I tend to try between some various low cuts (if needed), including linear phase ones (if ripple can be kept low).
- Jens Bogren
[top]How do you manage the interaction between bass and guitars? In other words,
what do you want to hear from each of them? - AAGG
I want the guitars to sound fat but distinct and "cool". My goal for bass is for it to be even, have some nice bark in the mids, and that nice expensive string sound that you can get by hi-passing a Di track really high up, like 5k.
I like tube amps like Ampeg, I love using guitar heads too, and I'm a fan of SansAmp.
Tech 21 Sans Amp PSA-1.1
- Jens Bogren
[top]Do you always receive rough mixes at the outset, and how seriously are you expected to take them as references for the vision of the band/producer? - Phosphenetre
Some will provide almost too good rough mixes (and they can't stop referring to them, similar to the "demo disease"), while on other projects, I'd have to ask for a rough mix. I always want them, not so much as a guide, but they serve the purpose of mental preparation while setting up my basic buses and sorting tracks etc. That way, I can build a sort of "goal sound" in my head, and I will know what to expect arrangement wise and plan for the order of things to be mixed. It also confirms that stuff is in sync and actually present among the multis.
When it comes to the band's vision, I usually get that written instead. Metal music is hard to mix, and roughs usually sound like... crap. :-)
- Jens Bogren
[top]What are your main suggestions for achieving a sonically pleasing and "soft" mix for heavy music? - Stephenkerr
The listening environment is key. I've been having the good fortune of having really nice control rooms all along. Paired with good monitors, I suppose you hear more of all that nastiness that seems to be especially associated with "noise" music like metal. ;-)
I didn't tour, so my ears were never exposed to too much noise. I feel I've been almost over the top with making sure stuff didn't resonate in a harsh manner on my mixes. I used to mix on KRK V8's back in the day, and those have a pretty defined mid area around 3k, where I imagine the crossover is.
I've been trying hard the last ten years to not over-clean my mixes. You can really lose your mix and what's important fast if you start to focus on these things instead of more important stuff that actually will matter on a regular, less pronounced speaker system.
- Jens Bogren
[top]Would you tell us what some of your favorite plugins are and where/how you are using them? - Jackie Moon
FabFilter Pro-Q3I'm also using some UA plugins, like their 1176 RevA, which I find to be great. I use that one on vocals a lot. LA2 is a bit harder in the plug-in form, and I stay hardware for now. For more surgical EQ I tend to use flux epure (great sound), and FabFilter Pro-Q3 (very convenient, fast, and has dynamic abilities).
Altiverb is another plugin that I started to use only some years ago that really changed the way I'm using verbs on, especially acoustic elements. Soundtoys see a lot of use, like the good 'ol Echoboy and the Devil-Loc. Mostly on guitars and vocals. To name a few.
- Jens Bogren
[top]Your mixes seem to have more depth and breathe more than some of the other super ultra slammed Metal mixes out there. What do you think are some things you do that contributes most to this difference? - Sacha
Thanks, Sacha. That's hard for me to judge and evaluate. I think a lot of it has to do with the source material. I tend to get projects that call for a lot of depth, perhaps. If I'm the producer and get to record the project myself, it's also easier to keep track of the sonic quality throughout the process. Every little bit counts.
One other thing that I might be doing a little different is the fact that if I use references, I tend to go for more rock oriented stuff rather than "competing" metal mixes. I'm a fan of several modern classic mixing engineers like Rich Costey, Tim Palmer, Tom Lord-Alge, and Andy Wallace, to name a few.
- Jens Bogren
[top]Could you share some thoughts about your new studio, such as:
- What led you to building a large, metal focused studio, amidst what is a challenging time for studios to be profitable?
- Are there any unique construction details you would like to highlight?
- Are you making any major gear changes during this time, such as monitors, tracking gear, etc? - Bambamboom
Well, I think the bottom line is that I'm a crazy person. :-)
Well, this is hopefully the last studio that I build. I identified the current and probable future need for my business (myself and my employees, there are 3 of them right now) and decided to build something that I can stay happy with. This is a ground up facility, built in a way that could serve a use as an investment also beyond using it as a studio, should it come to that.
One other key factor is that it's not a commercial studio per se: it's a tool for us who work there to use, like a private studio. Renting out the place as a studio for other producers and artists would never work in today's climate, as you say.
It was nice to be able to design everything based on the 20 years of experience of how I want a facility to function. Things that I usually find are subpar in studios are e.g. quiet, proper ventilation, and cooling. Other things that artists will appreciate are five individual bedrooms and a nice living area connected to the studio. At the end of the day, the artist will care more about the ability to do laundry and having access to a good dishwasher than what compressors you have.
The actual control room designs are a treat, though. Drawn by Jens Eklund from Resonator/Holonor, the design includes custom stereo subs for three main control rooms and perfectly tuned main speaker systems from Amphion. The approach of delivering subs custom for each room has resulted in amazing low end performance.
There will be some changes, but I'm not sure of what exactly. I'm moving in permanently during the summer, so we'll see what I'll need.
I am, however, changing my interfaces to Lynx Aurora N in the mix/tracking rooms, and Lynx Hilo over Dante in the mastering room.
Bogren Digital : https://bogrendigital.com/
