new Dan travis Progressive/Power metal Instrumental

[DanTravis62]

You know you wanna give it a listen.



I really dig the riffs in this, most of the time I avoid 6/8 unless it's a really good one

 

[Techdeth]

Good stuff man

 

[griff10672]

Nice !!

 

[Monkey Man]

Nooiice Brother Danno!

 

[TheBiggestJerk]

You know you wanna give it a listen.



I really dig the riffs in this, most of the time I avoid 6/8 unless it's a really good one

Good shit!!! Where’s the BASS Lars?

 

[DanTravis62]

Good shit!!! Where’s the BASS Lars?

it's there, and it's quite loud, it just melds together with the guitar tone - still pokes through in parts though, like the breakdown after the solo

Especially in stuff this busy compositionally I don't like clanky trebly bass - i prefer a more jamerson style smooth, support role tone for it

 

[harddriver]

Dig it! Very cool arrangements Dan!

 

[Jdub]

Bad ass!! Sounds crushing! Pummeling rhythm and crisp lead tone. Me like! Signal chain?

 

[TheBiggestJerk]

it's there, and it's quite loud, it just melds together with the guitar tone - still pokes through in parts though, like the breakdown after the solo

Especially in stuff this busy compositionally I don't like clanky trebly bass - i prefer a more jamerson style smooth, support role tone for it

I love bass. My ears go there first.

 

[DanTravis62]

Bad ass!! Sounds crushing! Pummeling rhythm and crisp lead tone. Me like! Signal chain?

Thanks man - I did the whole thing with my purple les paul classic

rhythm tracks are kemper profiles of a Rev C recto and my old Larry Dino, and Scumback BM75LD IRs I made myself

Its double quad tracked with each amp profile with 1 57 and 1 royer 121 for each amp each side - so 8 total rhythm tracks. The real trick when doubling that many times is getting the low end under control, which means a multiband compressor around 120hz

The lead tracks are a kemper profile of an absolutely cranked 69 super lead and a wall of sound NOSV30 IR

scheps omnichannel on lead guitar tracks as far as vst, thats it

bass tracks are my cheap squier pbass with steve harris pickups, and an SWR workinman/redhead plugin, with which I always blend with a midi track of the exact same bass line I play for versatility and sub-thump

Besides that, just using metrodrummer over a midi of the actual drum performance, split into their separate drums, scheps omni channel, waves 1176, and automation on everything

 

[Jdub]

Thanks man - I did the whole thing with my purple les paul classic

rhythm tracks are kemper profiles of a Rev C recto and my old Larry Dino, and Scumback BM75LD IRs I made myself

Its double quad tracked with each amp profile with 1 57 and 1 royer 121 for each amp each side - so 8 total rhythm tracks. The real trick when doubling that many times is getting the low end under control, which means a multiband compressor around 120hz

The lead tracks are a kemper profile of an absolutely cranked 69 super lead and a wall of sound NOSV30 IR

scheps omnichannel on lead guitar tracks as far as vst, thats it

bass tracks are my cheap squier pbass with steve harris pickups, and an SWR workinman/redhead plugin, with which I always blend with a midi track of the exact same bass line I play for versatility and sub-thump

Besides that, just using metrodrummer over a midi of the actual drum performance, split into their separate drums, scheps omni channel, waves 1176, and automation on everything

When I heard the chugg factor I was wondering if there was some Larry in there.. It sounded how I imagine a Larry would. That was crushing.. Do you play all the rhythm parts or use a Di track and re-amp. I am brand new o recording so pardon my clueless questions, but I would like to learn and get better at it. Thanks for the input and sounds awesome and smoking playing. You have talent for an asshole. LOL. JK..

 

[DanTravis62]

I play all the rhythm parts on this one but in certain situations I will reamp - it just depends on if ive already got a tone in mind or I want to try some different things. With this one, I had a good idea of what I wanted to do tonewise.

If you're not sure about the tone though it's always best to take a Di and give yourself a backup and some options. If you're playing something super difficult, punching in and out is also easier on a DI track. But with this one I wasn't playing anything too crazy so I could track it live with no issues. I also take a di if I'm recording someone else every time.

Appreciate you taking the time to listen!

 

[JTyson]

Sounds great Dan, nice tones and arrangements and killer playing too!

 

[Devin]

Yeah this fuckin rules man

 

[DanTravis62]

Sounds great Dan, nice tones and arrangements and killer playing too!

Yeah this fuckin rules man

Thanks homies, I thought the arrangement turned out really spicy. I didn't spend too long on the mix so it's a little rough, but the tones suit the material i thought - i probably should have done something more thought out for the solo, but I just liked the idea of "melody/run/melody harmonized/run" so I stuck with it.

 

[JTyson]

Thanks homies, I thought the arrangement turned out really spicy. I didn't spend too long on the mix so it's a little rough, but the tones suit the material i thought - i probably should have done something more thought out for the solo, but I just liked the idea of "melody/run/melody harmonized/run" so I stuck with it.

The harmonies sound great, something that is often forgotten about now days

 

[DanTravis62]

The harmonies sound great, something that is often forgotten about now days

I was really stoked about the harmonies in the main riff and the solo, I am obsessed with finding the right spots to bust it out

 

[JTyson]

So the 57 and the Royer were mic sims for those tracks?
Thats a great combo for guitar stuff, I run that same combo for 412’s. That or a 57 and a Senn 421, or a Royer and a Bock depending on what we are after. I still do it the old way.
Mics on cabs at volume, sometimes close up, sometimes close up with a room mike (Bock)
Then align the tracks in logic.
Usually the 57 goes through a Warm 1073 EQ clone and the Royer goes through a old UA LA610, so the bulk of the sound is the Royer/LA610 but the 57/1073 adds some teeth and aggressive edge to it even pulled back slightly.
I see a lot of love for the Royer, and it’s not bad at all by itself for a lot of things, but wicked heavy needs just a bit of teeth added IMO..
I have no clue about IR’s, and mic sims, the technology has passed me by, and I’m too lazy to take on that whole ball of shit at the moment

 

[thegame]

Very pretty

 

[DanTravis62]

So the 57 and the Royer were mic sims for those tracks?
Thats a great combo for guitar stuff, I run that same combo for 412’s. That or a 57 and a Senn 421, or a Royer and a Bock depending on what we are after. I still do it the old way.
Mics on cabs at volume, sometimes close up, sometimes close up with a room mike (Bock)
Then align the tracks in logic.
Usually the 57 goes through a Warm 1073 EQ clone and the Royer goes through a old UA LA610, so the bulk of the sound is the Royer/LA610 but the 57/1073 adds some teeth and aggressive edge to it even pulled back slightly.
I see a lot of love for the Royer, and it’s not bad at all by itself for a lot of things, but wicked heavy needs just a bit of teeth added IMO..
I have no clue about IR’s, and mic sims, the technology has passed me by, and I’m too lazy to take on that whole ball of shit at the moment

Its through separate IRs I made of a 57 and royer 121 on the scumback speakers - which were, indeed, both close up and loud - the lead tracks were third party IRs (torpedo wall of sound)

I generally find that I'm pretty picky with IRs for rhythm tones and tend to get better results making them myself rather than relying on third party plug ins

In this case, I tracked separate performances of the guitar lines for each mic/IR combo and then mixed them together - basically, I use the 57 as the "base" of the sound, and then blend in the 121 until it has enough "body" and warmth. As you say, the 121 is very warm and doesnt have a ton of teeth, but that's all in how you use it - in a blend with something as in your face as a 57 its a great shout.

As far as processing, our workflow/signal paths are almost identical except I don't like the sound of the dave jerden back of amp/room mic - i find that there are better ways to get the low-end sub thump out of guitars IMO, and I'm not an AIC fan or a fan of that tone, anyways.

I almost always run my guitar tracks through Scheps omni channel strip with just basic processing, lo and hi pass, and some minor EQ stuff or multiband compression on whatever the lowest string is, generally 80hz for low E chugs) and then for leads, I almost always run through the waves CLA 76 comp

Mic sims/IRs are literally indistinguishable from the real deal (if used right) the vast majority of the time... It's just that the last statement ("if used right") is a big factor - there are a lot of dumbasses out there who don't know how to get the most out of this digital stuff. I have very, very few paid plug-ins - analog outboard gear almost always sounds superior to the digital counterpart, its just a matter of money, of course, which I have none

I do, however, have a ton of experience working in honest-to-god studios with nice gear, which gives me enough know-how to do my lo-fi demos of my metal tracks while MacGuyvering with little to no gear.