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The Great Cold Distance
Old 4th July 2020
  #1
Here for the gear
 
The Great Cold Distance

Hi Jens!
Love your work, you have mixed several of my favourite albums!
One of my all time favourites are The Great Cold Distance. I guess somebody have asked about this album before. Can you recall what mics you used for the kickdrum, and can you recall what kind of guitars/pickup/amp where used on the rythmguitars?

Thanks so much, Jens!
Old 7th July 2020
  #2
Lives for gear
 
🎧 15 years
One of the best sounding albums of all time.
Old 7th July 2020
  #3
Cheers! Sure, I used a B52 in the resonance hole along with an SM91 inside the kick, Topped off with a U47 FETin 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.
Old 12th July 2020
  #4
Here for the gear
 
More about The Great Cold Distance

Tjenare!

I have multiple questions.

1. I analyzed the surround mix on The Great Cold Distance and noticed that the second pair of rhythm guitars has way lower gain and only plays single string on a lot of the riffs, is this something you do often?

2. Regarding that surround mix, is there a reason why it's 4.0 and not 5.1?

3. You answered in another thread what amps were used for the rhythm tone, but what amps/cabs did you use for cleans and leads?

4. The kick drum on that record was my favourite for the longest time, until I heard Machine Messiah which is pretty much the same sound but more of everything haha. What is the secret behing that kind of meaty and present but still complex and not clicky high end? I know what mic combination you like (B52, B91, U47) but how do you (or the drum tech) place them? What kind of drum heads and how are they tuned? I'm guessing pretty low?

5. Finally, there's a lead sound often used by Katatonia that sounds like it's under water (lots of delay/reverb and maybe phaser), I believe you guys called it "ventilen"? Did you play any part in creating that sound, or was it made by the band using pedals and stuff?
Old 20th July 2020 | Show parent
  #5
Quote:
Originally Posted by Seybsnilksz ➡️
Tjenare!

I have multiple questions.

1. I analyzed the surround mix on The Great Cold Distance and noticed that the second pair of rhythm guitars has way lower gain and only plays single string on a lot of the riffs, is this something you do often?
Tjena! Yeah, it's not uncommon that a quad track guitar unity builds up a sound together. In general, I find that less distortion is required (or preferred) the more guitars you throw in there. But no rules, really.

Quote:
Originally Posted by Seybsnilksz ➡️
2. Regarding that surround mix, is there a reason why it's 4.0 and not 5.1?
At the time, this was what I (and many with me) believed worked better. I had seen too many sad examples of a center speaker lying somewhere on a bench, while the main LR would be proper speakers. So what do you put in the center channel? Something non important, like snare and vocals? :-)

Same with the LFE, it's designed for Low Frequency Effects and not really music. I got a lot of comments about it though, so I later moved on to doing 5.1 without caring too much about that. I've also done some mixes in 5.0.

Quote:
Originally Posted by Seybsnilksz ➡️
3. You answered in another thread what amps were used for the rhythm tone, but what amps/cabs did you use for cleans and leads?
Sorry, I can't remember. Perhaps there are some photos from the session?

Quote:
Originally Posted by Seybsnilksz ➡️
4. The kick drum on that record was my favourite for the longest time, until I heard Machine Messiah which is pretty much the same sound but more of everything haha. What is the secret behing that kind of meaty and present but still complex and not clicky high end? I know what mic combination you like (B52, B91, U47) but how do you (or the drum tech) place them? What kind of drum heads and how are they tuned? I'm guessing pretty low?
Thanks man! I use SM91, not B91, but they are fairly similar. I'm not a super fan of B52, but I end up using it quite often. I also use Sub-Kick or the classic with using an NS10 woofer as a speaker.

Anyway, I prefer Powerstroke 3 with no dampening on the head. I do use some dampening inside the kit, like a towel or something. I tune the kick quite low, but not so low that it doesn't rebound well. Standard front head with a hole in it.

The SM91 will be in the middle on the towel, and the B52 (or some other dynamic mic) will be either in the hole, or anywhere from there to the very middle of the kick. 47fet will be outside, and/or the subkick. I usually build a tunnel or use something to block the direct sound from the kick. That way, it's easier to use more room mics without messing up the low end focus in the kick itself.

Quote:
Originally Posted by Seybsnilksz ➡️
5. Finally, there's a lead sound often used by Katatonia that sounds like it's under water (lots of delay/reverb and maybe phaser), I believe you guys called it "ventilen"? Did you play any part in creating that sound, or was it made by the band using pedals and stuff?
Yeah it's an amazing sound. It's Anders Nyström's custom sound, and it's basically a Roland guitar FX with chorus, delay and reverb turned to max. :-)
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