Hi troops, following on from surviving rabies, I thought I’d share another one…
Credits;
Everything - me
And here’s the mixer;
I generally just alt + double-click to use Ardour’s generic GUIs for plugs but thought I’d include a screenshot of some plugin porn from the project anyway;
Cheers 
Nice new Doomgrunge opus 
Same old “please put voice a bit louder” and “where are the lyrics?”
aux: Question, what is the drums source? Instrument plugin, recorded, samples? (I like them sound)
Thanks Loki 
I really appreciate you having a wee listen!
Hell yeah, that works for me 
I’ll pop that in the title now…! Thank you
Ugritone drums, the Total Studio sample set in this case I played / recorded it on an edrum set a long time ago and just tossed the MIDI into an Ugritone track that was fanned out to tracks for mixing.
As much as I like Ugritone (and Drumgizmo etc), I can’t wait to build a music room in my cellar and have an acoustic kit to play / record with.
gut
I gave birth to an alien race and then I gave birth to you
A new Earth with an alien airspace lost in Mogadishu
Four days full of rabid bites so I set the rabies loose
Cut down and drowned in moonlight, it comes round and comes back to you
Comes back to the truth
It comes down now
Get back, get down, get on the ground, come see the sights
High tide, my time is on your side and I timed it right
I gave birth to a Belgian hare, I survived but the rabbit died
I made a burrow and I crawled inside and I waited for a sign to find my way back to you
To get back to you
To get back to the truth
Gotta find a way to survive, gotta make an Arms Deal
Make a break and get out alive, come back and disappear
You gave in, gave up, you lost then I hit the floor
You hit the bricks and fucked a crucifix and then I gave birth once more
Five nights full of dynamite, well that ought to start a civil war
New heights and a new Apartheid, it digs down, gets right down to the core
You saw it all
But came back for more
Now you saw it all
And came back for more
Gotta find a way to survive, gotta make an Arms Deal
Make a break and get out alive, come back and disappear
Hey, the mix sounds amazing! could you share the folder for this project? for study purposes, I’d like to see what plugins you used and how you get such great quality and volume in the master.
Thanks for listening and for the kind feedback! It’s a nice compliment and greatly appreciated 
For the mixing, you can see the plugins used in the mixer screenshot above. I relied heavily on the ACMT plugins (https://www.acmt.co.uk/) and Airwindows (https://www.airwindows.com/) for everything because they work amazingly well on old shitty hardware running Linux. Airwindows Console8 sits all over the show and Airwindows ‘tape’ on the master adds a special something to the overall sound.
For ‘mastering’ (if you can call it that), I just ran the stereo mix through a few LSP (Linux Studio Plugins Project) and Airwindows plugins while referencing some old 90s Afghan Whigs material that I really like (think I used some songs from Congregation or Black Love as a reference…? Can’t remember though). There’s nothing fancy going on though which is why I don’t really call it mastering and the overall volume is low (I think these tunes sit around -10 or -9 LUFS).
Modern productions and masters are not always enjoyable to listen to, in my opinion, because they’re too hot and sound overly compressed. And it always seemed batshit insane to me that masters are finalised at such hot levels because, at the end of the day, the listener has ultimate control of the volume and they’ll just adjust to taste anyway irrespective of final LUFS figures and whatnot. Or am I just being idealistic in this regard…?
No, you’re not – I can definitely hear the difference, even on my crappy speakers! Lots of airy room, especially on the drums. Sounds like a nice change of pace especially for this genre. I could get used to this
Ah that’s very kind of you, thanks runiq I appreciate the listen and the kind reassurance that I’m not insane in my preference for more dynamic masters 
Sounds awesome.
Good song, good mix.
It’s got that Killing Joke vibe, which is great.
Maybe, just maybe, a bit more vocal layering to help to propell choruses, and occasional more striking and strategicaly planned crash+kick/snare accents in the right spots, but, that’s just nitpicking at this level of finished project (basicaly, standard producing ear-candys with radio-friendlyness in mind).
Very good, indeed. For my taste the sound is outstanding.
And as others already mentioned: Don’t hide your Lemmy-like voice. Just don’t!
It’s really good! Perfectly fits the music. R u on bandcamp.com?
Especially like how guitars and bass blend together. How did you achieve this?
Thanks Ljuba Very kind of you to listen and provide your thoughts, much appreciated Nitpick all you want, I’m not remixing these tunes 
I want to move on with my life now haha.
Thanks Peter Cheers for listening and commenting, it’s hugely appreciated I have a bunch of old stuff on Bandcamp but I’m not happy with any of it and kind of abandoned that project. See here for example, which was done in Renoise and features some live cajon playing by yours truly…! Or this which is a bit mellow and, dare I say, a bit of a catchy ear-worm.
For the tunes I’ve been sharing here, I have 9 finished tracks that I plan on releasing via Bandcamp under a new project name so it’s separated from what I’ve done previously, which is a bit different. I’ll probably also bundle in 7 b-sides with the download when someone gets it on Bandcamp, along with a digipack of artwork and lyrics and all that. If you’re interested, I’ll share that here when I finally get round to publishing the material?
Every time I start to think about finished the artwork and putting the release together, I end up with some other work / project that needs my time and attention or our daughter brings home a fun new virus from Kindergarten (like right now, for instance…!) and I feel too rough / lethargic to work on art in any meaningful way. Instead I just take it easy and listen to music instead of playing any myself
Hmmm that’s a good question. I’ve been much more into playing bass instead of guitar this last year so maybe, when I write these tunes, I’m a lot more conscious of making the bass line and guitar parts compliment each other effectively…? I dunno. I love doing little walking bass lines on certain parts like choruses and on gut, this nicely overlaps with the guitar playing an open arpeggio thing so maybe that gives it that blended feel…? Otherwise just some standard mixing stuff where I keep each guitar part in it’s own mono space on the spectrum and cut out the lows and stuff like that.
For the tunes I’ve been sharing here, I have 9 finished tracks that I plan on releasing via Bandcamp under a new project name so it’s separated from what I’ve done previously, which is a bit different. I’ll probably also bundle in 7 b-sides with the download when someone gets it on Bandcamp, along with a digipack of artwork and lyrics and all that. If you’re interested, I’ll share that here when I finally get round to publishing the material?
Please do!
Would anyone please explain to me how the heck I managed to miss this? Dang!
I agree with my fellow commentators, it’s another cool one of yours. Great melodic work, Great lyrics. I’ve watched a considerable amount of Sex Pistols and John Lydon interviews these last days and I’m convinced he’d say about your lyrics what he did about the Pistols’: They mean something!
I find those two other links you posted above most appealing, apparently there’s much more to you than Metal or whatever anyone is inclined to call it, I’d rather not stick a label to it. Particularly on those recordings on bandcamp your singing voice really shines, I totally concur with Peter, don’t hide your singing voice!
Speaking of your bandcamp page. My, you’ve been busy! I checked “Follow” on bandcamp, looking forward to things to come.
A brief note on the side: I deleted all my YT channels and Google accounts today, like I announced some time ago. Bandcamp, which isn’t really cool anymore either will follow as soon as I scraped money together for a website.
Tucholsky!
Freedom!
Now, where was I… Ah yes, I agree with you on the insane high-octane loudness levels on today’s masters. First time I noticed that was when I played a mix of mine right after something more professionally produced, I was like: Eh? Is my mix THAT quiet? But nevermind, as long as it is LOUD when you crank the volume, everything’s fine!
Nice insight about making bass and guitar lines compliment each other, I’m on the same journey.
Well done again indeed! Keep it up Mate, you’ve got something there. I can only return the compliment you made about the breath of fresh human air in the sorry efforts I came up with so far…!
Aye aye, captain!
There’s not a lot to miss, really…! But I’m glad you had a listen, chief I really appreciate you listening and commenting.
Meh, I’d encourage anyone to abandon and neglect Google / Youtube etc in the quest to eradicate enshittified / enshittifying nonsense from the human world. However, Bandcamp is awesome in my opinion (and as far as I’m aware, it’s not been on the path to enshittification, at least yet…?).
Voila exactly - the thing that engineers, publishers, producers etc seem to forget is that, at the end of the day, the listener is the only person who actually dictates the final volume of the music… So it’s all well and good making a master super hot and “competitive” at -6 LUFS or whatever but if the listener just turns the volume down then nothing has really been achieved.
It’s a simplification of sorts because I’m sure some music sounds best hypercompressed and rendered at daft LUFS levels. But otherwise, and I’d argue this until the cows come home, most music is best served less hot and with less compression / limiting on the master out, with the listener raising or lowering the final volume to taste.
That’s just my opinion, man but I stand by it and have yet heard a strong enough case in favour of ridiculously hot masters that changes my mind on that.
I seem to remember that in the 90s there was something going on called the loudness war, ridiculous as it may sound [sic]. If I’m not quite mistaken, it was was about radio airplay, how much BAM! in the face of the listener a production could possibly be. That must have been the beginning of the insanity then…
Mooh, er, Amen! I may overdo it to a degree, attempting to sound as garage as possible, but a poor boy’s gotta have some fun, doesn’t he.
Yeah well I have it from a reliable source in mid-level management who was as idealistic and motivated as anybody there. He left after it was sold twice because things changed significantly, not only because of the numerous lay-offs but because working conditions became a pain in the neck. He says the Songtradr bosses are not cool at all.
Which corresponds to this:
She’s a cool Lady and I see no reason why she should’ve made that up.
Apart from all that, it’s not my platform anyway, because I don’t primarily want to sell anything. I just seek self-governed public appearance.
Just my point of view and preferences. Keep that in mind when you read something like “Bandcamp, which isn’t cool anymore” from me…
Porn indeed! I’d consider myself utterly privileged if my consumptive video card could handle such beauty… but just you wait and see, I finally bought my Lenovo S30 with 2 GB graphics on the weekend, and as soon as it is set up things will be different! I hope.
Cool, console8! Ardour is probably the best daw for Chris’ console systems since it actually has post fader plugins, so we still can use the faders. Have you tried other console models?
Also, nice mix! Song has dynamics and a good arrangement. Sounds full but everything has its place.
Thank you Vivien Sahr I appreciate that…!
Yes I’ve been leaning into ConsoleX2 recently actually and really enjoying it! All channels get the ConsoleX2 Channel plug post-fader and all buses get Console9 Bus at the top of the chain and ConsoleX2 Channel post-fader, with ConsoleX2 Bus sitting on the master input. It takes a bit of getting used to but I think it’s truly superb.
You’re right about Ardour being perfect for implementing the Console plugins, yet Chris himself seems to have had a bad time with Mac builds of Ardour (nearly a decade ago mind, I think…) and just uses Reaper now.
Anyway, for me, I love how the Console plugs just seamlessly glide into Ardour projects. I used Harrison Mixbus for a while but found the Ardour + Airwindows Console approach to be better, personally.
