Together with “McCallister’s Revenge” and “Super Monky” we had a live gig in the Club Wakuum in Graz, Austria. This is the live album from our part:
The recording was done by the Club technician using the on-site equipment.
Regarding the mix, here’s what I used:
Here are some screenshots of the project.
The editor view:
And the mixer view:
Enjoy.
Thanks and regards.
Congrats on your show! Sounds like the house guy got a pretty clean and dry recording for you to work with! Most things sound very good, especially the guitars and vocals. As I’ve said before I don’t understand metal kick drums at all and if you are interested in objective critiques I have some concerns with the drum sounds, they are quite loud and forward in the mix, especially the snare which has a big thud but somehow lacks power, the meatless click of the kickdrum also robs power. It seems to me the groove ‘pocket’ gets lost sometimes and the tempo and momentum feel a bit weighed down. I think the relative quietness of the hats and the cymbals contribute to a lack of cohesion with the drumkit in general.
That said you are obviously a great band and great players, live sound is a difficult and revealing medium and such close miking doesn’t allow for natural reverberation to glue things together in context of the blend between the stage sound and what the audience was hearing. I’ve rarely heard a live recording of any groups I’m in that didn’t have similar compromises so take my comments as someone who suffers the same issues in Live recordings.
Well, only one thing to say here: our drummer seemed to be too cautious and should have hit the drums much harder. When comparing our raw recordings with “Super Monky” (the funk/rock band that played 2nd): man, this drummer really knows how to handle things. The raw drum tracks (same kit, same microphones, etc.) already sound so good, especially the snare…
There actually were two overhead microphones on the drum kit, but the technician forgot to apply phantom power to them. So those two tracks were effectively empty (for all 3 bands). 
So, not much I could do, except trying to compensate with some high-shelves…
Nice musicianship. And congratulations on the songs if you have written them yourself. (And please make sure your singress has learned the proper technique for “growl” – and does not just do it naturally, because that would be risking damaging her nice voice. And, she has a nice voice – please write for her more clean singing parts. Experiment with her vocal range, what feels natural and powerful for her (“tessitura”), and write for that range… and then let her really shine through that. If she has trouble hitting some notes, maybe rewrite those parts to suit her voice better. Maybe also write for her in German, because she has nice pronounciation in German, but occasionally lacks adequate pitch control due to having to simultaneously mentally fight with mouth gymnastics for singing-English pronounciation. At least that is my impression from this recording.)
I would bring the vocal more to the forward, and I would push the instruments to the side (use some binaural panning plug-in).
Instruments (as well as vocals) close-miked with directional microphones (anything else than omni) get recorded together with proximity effect (in Americanese: bass tip-up). So before mixing them one should EQ them back to normal sound. Otherwise they sound boomy (which is what you probably hear here on the snare). Plus this snare (the instrument itself) was tuned to be somewhat “sonorous” (there is a distinct frequency ringing in it), which makes it feel less 'powerful" and more “singing” (a bit like a tom)… I am not a metal expert, but I don’t think such sonorous tuning is a good idea here; instead I think understandability of the various instruments would be helped by a much more “muted” (quickly fading away) snare sound.
I actually find ‘bass tip-up’ more used on the other side of the pond than the US side:). Proximity effect is more common for most audio folks I deal with over here.
Actually the opposite tends to happen in my experience, until you get things properly aligned you can lose power out of the snare due to cancellation from out of phase mixing. This is why phase matters with drum mics, and why things like the polarity maximizer is nice:)
This however I would typically agree with. EQ is probably your best bet here.
Seablade
I suspect that an unfamiliar stage sound that doesn’t do justice to your wishes can cause some uncertainty when playing drums.
I would have been quite happy if the technician had presented me with this kind of snare sound more often. But yes, it would suit the funk band better.
We did, except the last song, Holy Diver, which (of course) is from Ronnie James Dio.
And strictly speaking, the first 8 bars of the 2nd last song (Gulag) are also not from us, but kind of a tribute to “Neon Knights” by Black Sabbath / Dio.
Don’t worry, she knows how to not harm her vocal cords. 
The songs we played live were mostly old songs from a previous band constellation.
Most “new” material (e.g. songs from our “Scorched Earth” album) have more melodic elements and therefore have more “clean” than “growl” vocal parts…
Then listen to “Excrementos Felis”, the only song with German lyrics (and two words in Latin) so far. 
(which might stay this way, because we rather want to keep our songs in English)
Thanks.