Another new metal song

Hey Mark when I click on the 'here' link it takes me to SoundClick then jumps to the home page. What's the name of the song?

The direct link does not work. The one in your sig takes me to your page. I am assuming its the song with no title?

*suddenly flies back and is thrown against the wall*

Nope... I remember this LOL

Trying "God Cries".

Ooooo, very Tool like opening.

Nice. If this is church music, then I wanna go to your church

Well done. Enjoyed that immensely. Thinking your "black" vox might make for a cool Medusa voice.

Cheers
Shad

Enjoyed it. Personal bias here (guitar player), but I would like more guitar upfront, but it's the right balance for your song. I like the arrangement, I like the 'pull-back' on the drive at 4:50.

Good stuff, I like it. You might get punchier guitar tracks by dropping the distortion down and use your same mixing technique. Second that on the arrangement, very good and keeps moving throughout the tune.

metal, church...combination of the two....all good to me. not odd at all, just expanded horizons IMHO.

Good song. I like the distoted vocals but glad you came in with regular singing eventually( good voice). The guitar is good for the song but I agree it could be a little crisper and bumped up. It's a keeper and worth more effort that's for sure.

Rhyno

Great song! I'm a fan!

Mark, listening, writing. I like the beginning. Woa! Heavy! Going somewhere. Well produced. Vox is dirty! Wow. Amazing. Very creative piece. Props.

Well from someone who lives and breathes this genre, this song is better than some that I have CHOSEN to pay for. I wouldn't worry about that snare drum too much. Personally I think you and others are being a bit too critical. The entire song rocks, but the TOOL-ish intro was very cool!

Troy

Hey Mark, I was reading through the comments that were left for you and realized that one of mine might have been misleading in the way I wrote it so I wanted to clarify - When I say "vox is dirty" its an old guys way of trying to say something "hip, what I really mean is that I think that vox fx is gritty and I like that kind of sound and think its a good fit and sounds neat, perfectly suites this genre in my way of thinking. I am certainly no expert on this genre, but I wouldn't change your vocals.

Great intro Mark, you pulled that off very confidently - not easy to expose a clean guitar like that, but you performed that section really well. Thought the arrangement of this track was excellent actually, I don't have any reference for stuff like this, but it's well put together, powerful work.

loved the opening - it really set up the mood for the piece - beautiful guitar work - i like how it modulates from one section to the next adding drums and vocals along the way. i dont know - its probably just these speakers i'm listening on, but it sounds like the distorted guitars could use some LPF to tame the high end just a bit?

as for the snare - yep, i hate that sound too! i use DFHS, and no matter how much cycling/humanising/randomising i choose, and i go through during the quick passages and input a velocity change for each snare hit (between 80 and 120) it still sounds mechanical...anyone any ideas? i use the Sonor kit from DFHS as it seems the most metal, but maybe i need to use the snare from another kit...would it help to not use one of the 2 snare mics (it's mic'd above and below)? or even use an entirely different snare drum eg from session drummer 2 or tts-1? or if aontone has any eq/compression tips...currently i use the Sonitus EQ to avoid that cardboard sound (usually a high pass filter and a boost in the mids), a Modern channel strip on the snare setting, with a FX send to a reverb aux send buss with a Perfect Space plate verb on it, set to around 40% wet, and all the drums get fed to the drums buss with a slightly-adjusted Vintage Channel drum buss preset...

Well, if the 80-120 velocity layers aren't cutting it, it's going to have to be something else.. You could try even MORE, just really exaggerate it just to SEE if that makes it any better. If not, clearly ain't gonna work. Go from like 50-127, and just see how it sounds. I often use as much variation as that in my songs, though they are a different genre. Sometimes I find as well that there is almost no change from 80-110, but from 60-80 there is a huge difference, so yeah, really go far on it and see how it sounds.

I would try giving it some more of the bottom mic. Should hopefully bring up some more of the high stuff to it which might have a bit more variation to it. Or you could try muting the top, then bottom, and looking at which sounds more natural, then mixing the levels accordingly.

Try another snare as well, see how that goes. Also try layering the current snare with another snare that may not really fit with it, but has a very natural sound about it. So if you can find another snare that changes a lot in tone between hits, eq it to that kind of region, and combine.

Also, do you have the overheads on with snare through them? I think that makes a big difference also. If you only have the snare coming from the two snare mics alone, it might not cut it.

Some strong compression on it 'could' bring out the differences of each hit a bit more. That little bit of rattle after each hit may be brought up just enough to give each hit some variation. If you try this, you could also REALLY vary the velocity levels and after the compression, bring all the hits back to the same hardness, but now you have the different sounds from each different hardness of hit coming through. Should hopefully make a difference. Worth a shot I think. Maybe then a bit of gating on it to bring it back in line with that nice fast attack.

Another thing to try is to get your bottom mic and compress the HELL out of it and really EQ the HELL out of it (boost the 'snap/hit' something like 10dB, boost the bottom of it something like 10, then cut the cardboard area loads) now bring that highly edited track up in level slowly with the top mic to get the right balance of that wayy overly processed strong sound with the original. New York Compression, essentially. This technique also works really well on kick drums.