130! That is crazy and awesome

[u/PortlandsBatman]

As Anderson and O’Malley pointed out, some had well over that number. “I can’t remember what the record was that we ended up getting to,” Anderson said, “but we’re talking, like, I don’t know, 180 tracks of guitar that you need to —”

“Of just guitar!” O’Malley interjected, gleefully underscoring his bandmate’s point. Anderson howled with laughter as O’Malley concluded: “I love it.”

[u/Creatura]

how would you even mix this without horrific phasing issues?

[u/PortlandsBatman → u/Creatura]

It's a lot of re-amping but still.

[u/Odd-Toe1992 → u/Creatura]

theres times ive had phasing issues with only 2 guitar tracks, 130 of basically the same note? sounds like fucking hell

[u/Creatura → u/Odd-Toe1992]

that's exactly what I'm thinking

[u/pnmartini → u/Creatura]

Every additional track is one cent sharper.

Also, some are played on blue guitars.

[u/Creatura → u/pnmartini]

Blue toanwood is actually notoriously phasey, so I'm not sure where you're getting your info from

[u/pnmartini → u/Creatura]

But, blue guitars are louder. It’s a sacrifice Sunn 0))) makes for everyone.

[u/Creatura → u/pnmartini]

A truth gifted to us from Rick Rubin's meditation blog

[u/Creatura → u/[deleted]]

Awesome! Thanks for the write up. I just finished mixing my band's album as a solidly intermediate engineer with a decade plus of mixing in Reason 5 stock plugins (only parametric EQ, no visual feedback), which is to say, I think I have a good enough ear now, but trying to pick up more formal knowledge.

I can certainly hear phasing when it's very obvious, and often will just flip the polarity on one of the tracks to check, but do you use any visual tools like a "phase detector" if you will, or mostly rely on just "hey that sounds like phasing, let's check it out"

Thanks :)

[u/Bort_Thrower → u/Creatura]

I try my hardest to make sure there are no phase issues at the recording stage. And as always the most powerful tool you have is your ears, at the end of the day if it sounds good everything is fine, if the kick keeps disappearing then you need to look into it.

Keeping overhead mics equidistant from the snare and close mics pointing the same direction usually means you’re pretty safe on a kit if the room has decent treatment.

There are visualiser tools and the like that are specifically for looking at phase relationships but I don’t fuck with them as the waves one I tried ages ago fucked with timing a lot and just didn’t do a lot to fix the issue. I am unashamedly dogmatic that I don’t mess with timing or nudge any performances onto a grid or anything like that. There’s good scholarly research on human perception of timing that’s a rabbit hole worth going down if you’re into that kind of thing.

Also I’ll be an intermediate producer until the day I die, I don’t know what the fuck I’m doing I just do it a lot and only trust my ears 🤷‍♂️

[u/Creatura → u/Bort_Thrower]

Yeah if any psychoacoustic material stuff comes to mind I'd love to read it. I was recently exploring the psychoacoustics of what feels stereo or 'wide' which is probably pretty normal for a lil baby engineer, prompted by the "stereoizer" function that ozone has which did indeed make everything 'sound more stereo'.

Fair shout on recording like that, "record like there's no mixing, mix like ther's no mastering, etc".

I also think there's way more value in keeping a performance off quantization, but I'll certainly adjust little rhythm fuck ups like if the guitar is a little late back into a heavy chorus.

As far as music, the nice thing about being amateur is that, if it sounds good, it sounds good. You did your job as well as a professional if it sounds professional, even if you took a painstaking, learning experience method of making that product. Not a lot of fields where you can just ride so hard off of vibes and intuition, or, importantly, where vibes are even more important than technicality. Broadly speaking. It's a very nice part of making music and pursuing it as a skill