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Tag Archives: guitar

NEW SINGLE: “BREATHING BUT NOT ALIVE”

NEW SINGLE: “BREATHING BUT NOT ALIVE”
Queen of the Static Opera and Angelspit team up to release their new single under the side-project VENUS OF GORGON.

Queen of the Static Opera and Angelspit team up to release their new single “Breathing But Not Alive”. The single is released under their new side-project VENUS OF GORGON with the dueling vocals of Melody Lynn (Queen of the Static Opera) and Zoog Von Rock (Angelspit). The track features a brutal synths colliding with “Blaster Beam” – a 6 foot aluminum stringed instrument armed with industrial strength wires and a barrage of Metal guitar pick-ups producing a wall of distortion.
“Breathing But Not Alive” is inspired by Melody and Zoog’s shared experience with being trapped a small town and breaking free of the oppressive mindset.

>> Purchase MP3 Single
>> More Info
>> Listen on Apple Music
>> Listen on Spotify

 

GEAR REVIEW: .MIX 3 INPUT MIXER by STG SOUNDLABS

mix_stgr_review

This sturdy and compact mixer is great for audio and CV. It’s clean, yet can be driven to distortion easily is desired. It’s bipolar output makes it great for using with Control Voltages.

Visit STG SOUNDLABS for more information.

>> WATCH VIDEO

ANGELSPIT BLIPVERT: USING HIGH PASS FILTERS TO SCULPT MAYHEM

Angelspit demonstrates how to use a High Pass Filter to move with a sound’s pitch and remove unwanted rumble.
>> WATCH

STUDIO SNAPSHOT : Metal Atmosphere

A large salad bowl is bolted to a 2 metre long steel rod (out of shot). The rod rests in a metal umbrella stand (All items were found in back-alleys near our studio). Two mics (one above and one under) record a stereo image of the experiment. The rod is tapped, plucked, scratched and bowed which resonates the bowl. The sound is clean, clear and quiet. We had to set this up in the studios’ kitchen because the air-con in the main studio was waay too loud (it was working overtime on a hellishly hot day). We had to unplug the fridge because it’s hum was bleeding onto the mics.

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STUDIO SNAPSHOT : Patch Bay

Brand: Several different brands.
Model: Patch Bay

BLURB:
Boring, cheap but essential. These patch bays keep everything talking to each other and make it easy to route signals all over the place.

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STUDIO SNAPSHOT : “Recording Guitars”

We’ve been lucky enough to work with some AWESOME guitarists. George Bikos from East Coast USA band Embers of a Dying Flame and ex-Cruxshadows needs no introduction. His absolute punk attitude and drive screams through in his guitar takes. His surgical precision allows scathing guitars to sit seamlessly in a mix with complex synth lines.

We’re using three techniques to record the guitars:

Straight Re-Amping:
We’ll record the guitarist’s raw signal. Cut it up, then go into the studio and play the edited guitars though Graeme’s big guitar stack. This is recorded with two mics to give a stereo sound.
Pros : It’s accurate and it’s easier to fix up mistakes in a “raw” guitar take than a distorted guitar track
Cons: It can sound a little flat and might lack energy. When a guitarist is recording a track live (with massive guitar amp plugged in) they play with more attitude.

“Bent” Re-Amping:
Ditto as above, but after the raw signal is recorded, we patch it through the modular and screw with it as we would any other synth sound. We’ll add Amplitude or Filter modulation to give it extra bite. We then record it through the guitar amp with 2 mics.
Pros: It gives you a wild and chaotic guitar sound
Cons: Because of all the modulating, the tonal output is “unstable” – frequencies are going everywhere and it take a little extra work to keep the guitars sitting in the mix.

Rock Guitars 101:
Mix equal parts:
1 * rock pig guitarist
1 * massive amp
2 * mics
1 * backing track
Stir vigorously!
Pros: Sounds MASSIVE. High energy. It’s pure ROCK!
Cons: It can be a pain to clean up the guitars and edit stuff out….but that’s a minor gripe.

HINT:
Try and use all 3 (an more) on an album.
After you’ve recorded one track, re-position the mics to give a slightly different sound on the next track.
Try close mic’ing (putting the mic very close in the amp) and far mic’ing (putting the mic more than a metre away). This can give an awesome stereo result.
If possible, use different amp. Graeme uses a marshall stack, a Vox, plus a crappy Peavey Bandit practice amp…and the Peavey adds a fantastic top end definition to the guitars!

BOTTOM LINE:
It comes down to Punk Vs Perfection. How much raw punk energy are you willing to sacrifice in the quest for perfection?

Studio Snapshot: Editing Guitars

Our new album is shaping up to be dark, raw and PUNK AS HELL. Guitars and synths battle it out whilst heavy metal drums, modular bleeps and industrial percussion go head to head in all-out WAR…it’s shaping up to be a killer!
A major feature in this album is the way BIG GUITARS and BIG SYNTHS co-exist…there’s only so much “sonic room” a sound can occupy, and when two massive “frequency hogging” sounds are playing the same riff, things can get complicated…

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MASSIVE GUITARS

…you need:

1 Demon Childe Guitarist
1 Demon Guitar, Pedal and Rig
Lashings of ROCK
Killer Riffs (to taste)
2 * condenser mics
2 * SM57s

Place guitar rig in the middle of the room. Position so the back of the amp is 3 feet from the back wall with the speakers facing the room.

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Auxiliary Magazine gives THE PRODUCT 9/10

angelspit-product-cover-sml-DRAFTAuxiliary Magazine’s Rocki Lee sinks her teeth into Angelspit’s album THE PRODUCT

ANGELSPIT – THE PRODUCT

After a decade since their debut album, KRANKHAUS, Angelspit has shown no lull in committing aural violence over the years. With their new release THE PRODUCT, the band showcases new lyrical structures, complex guitar chords, and guest collaborators. However none of this is at the expense of Angelspit’s signature flavor.

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