Vlayman: *Her Sweet Fingertips*


1. The Place Between 02:19
2. Coulda Told You 03:49
3. Strapped 03:25
4. Mary’s Thing 04:39
5. Her Sweet Fingertips 03:34
6. Penalizer 03:36
7. Peeping Tom 04:04
8. With Feeling 03:25
9. Cannon Smoke 04:06

released May 23, 2018

Drums was found, them jes’ downloaded theyselves, I swearit.
Everything else including the belches is yo.
Recorded and shite at Feta Central Recording, DDL
Fartwerk: Jose Jones
Recommended playback level 10dB
Recommended ETOH level 110

c.’18 Vlayman

Dedicatered the memory of someone I’m tryna forgot, and the guy was gonna do guitar on #9 but apparently forgoted.
all rights reserved

I mix with olive juice.

Dum mixing

In answer to the TOMB question, “Does anyone use overheads?”, I said:


I’m-a give the old man answer, it


Kidding aside, I prefer the OH’s with close mic support model, but sometimes the OHs are a single OH, or they suck and I only use the close mic’s.

Then there are times that the close mics for whatever reason are unavailable (if they are clipping, or I only have OHs, etc.) and then I use gates and compression and EQ to make a fake close mic track, ex,. a kick track, to use in the mix after appropriate processing and sometimes alignment. You can augment the thump or or body the click, etc., this way. And if ya do it onna snare or toms, you can use compression and reverb to stereoize or augment those …

And if for some reason the OH(s) suck)s), I’ll often reamp the close mics by blasting the submix into the room and recording that – I have been known to just nuke (compress) a submix for such a result, also, sometimes using a room reverb on the submix before I re-mic. Typically doing this, I high-pass heavily.

That said, I never use just close or OH’s, and almost always including when I get a complete two-mix of the drums, because that mix down will need to be adjusted in the song’s mix.

Finally, obviously it’s material-dependent, because a Bonham kick ain’t usually gonna work onna double-pedal thrash tune.

I mix with olive juice.

Geronimo Cowboys: some (lotsa) older stuffs

  1. Radio Coconuts

  2. Do It or Don’t

  3. Beware

  4. CABO

Vlay M/S, revisited

Answering an M/S-related inquiry at TOMB, I said:

I’ve done drums many times with a condensor for the mid and a ribbon for the 8- works well on stereo playback, and different mics give different results. I’m not much of one to mix for mono – my operative theory being that most mono listening is done because of compromised or inferior playback devices, not by choice (leaving out us, as the recordist/mixers). I’ve never noticed any problems re the decode.

I do the below frequently, taking it a step weirder:

I do this most often as an effect on guitars and percussion. I’ll pan everything I want in mono, and set up a dynamic mid and a ribbon 8; you needn’t even have the mic’s equidistant from the playback source – I usually use an Auratone because I want the limited frequency range. Often, I’ll skip the mid and just record the 8, then process the original mono track (typically a guitar) as tho’ it’s the mid.

To the extent I’ve tried it on drums, it’s only been on the kit submix, and so it gives a big stereo picture, but not necessarily one where anything is more right than left.

Is it actually resulting in M/S? No, but it is giving a ambient stereo effect that you adjust as if it were M/S. And of course, if you place the 8 further from the sound source, you get that much more room …

Does it break down to well to stereo? Who cares – but it’s not horrible.

I mix with olive juice.

I mix with olive juice.

New Vlayman album: *Pussy Hat*

 <— click

1. Being Crazy 03:41
2. A Real Sharp Hoe 03:39
3. Boilin’ Bunnies (w Cline) 04:00
4. All My Exes (w Silversmith) 04:47
5. My Bulldozer 03:32
6. Pussy Hat (Girl Inna) 03:08
7. The Fights 04:25

Azza wannabe would-be whiskey rock-n-roller, I was sorta kinda mebbe inspired by L. Skynyrd here, even if it ain’t hardly-like sound thataway.

All the widdle is dedicated to Grankspoine – “Seeya on the next one.”

released April 25, 2018

Drums on “All My Exes”: Silversmith (Canada)
Guitars on “Boilin’ Bunnies”: Mark Cline (California)
The first line on “The Fights” nearly quotes Sunshine – really, that’s her name.
Other than the above, all was writ, recorded, mixt, masturd and otherwise messed-up at FetaCentralRecording DDL on the *south*-side of Chi, by Vlayman between 4-13 and 4-25-18.

Fartwork by Jose Jones

I mix with olive juice.

Recording fuzz bass

As posted at TOMB:

I record quite a bit, and I play all the bass on my stuff.

Lemme start by saying, for me, there is overdrive (like a TS8 or Klon-type at about 50%), there is distortion (like a good heavy amp or even a Muff or Rat at 50%) and there is fuzz (like that amp cranked, or a Muff or Rat at 90%) and then there is noise (like a Rat or Muff at 100% into each other, and/or a cranked amp). You will note my use in the parenthesis of “50%”; that is because overdrives can become distortions or even fuzz when cranked, and distortions and fuzz pedals can be sweet overdrives if turned down and mebbe played softly.

When I look for a fuzz bass sound my typical approach is to get it with a combination of pedals, and touch, with little compression and EQ.

I have used plug-ins, and parallel tracks/processing, and it works, but those approaches are usually the result of mix decisions where already-recorded tracks need fuzz.

So I start with the bass, which is usually just what I feel like playing. That said, I don’t like fuzz on fretless, or A/E or even flat-wounds – I prefer a good fret sound.

And generally, I prefer humbuckers with fuzz – I play alot of Hohner headless, but also a Fernandes and an Alvarez with HB’s. Fuzz is OK on my P, also, but I just like the thicker HB sound.

Me, I record through two chains to separate tracks at all times. My The Brick to a dbx160XT is slightly brighter and more detailed than my VC3Q, the latter is also more colored and dark. I blend them in the mix, often slightly panned apart.

For fuzz bass, then, my next decision is whether it’s all DI, 1/2 DI or all through the amp. Lately, it’s all through the amp. My recording amp is an Ampeg BA108 which is 20w. with an 8″ speaker, which I believe helps a bit to fit in the mix with less EQ than my 12″ or 15″ bottoms (through louder heads -altogether different with different issues in recording, starting with volume.)

I like LD dynamics on bass, lately I have been using a Peavey 520i which is like a slightly brighter SM7b.

OK, a bucker bass into that chain. For fuzz, I use a pick which, along with frets, gives a better note definition. I like softer, thin picks and use them almost always, but a harder, thick pick can make a difference depending on the gain used.

Yep – the fuzz thing obviously needs pedals, especially when recording. (Me, I’m an idiot with far more pedals than I wanna admit. But I don’t buy much boutique, and basically only by used, so there’s that compromise.) And, of course, you can switch off the pedal to clean up for the verse, etc., much easier than adjusting the amp.

Without talking about pedal-stacking – which increases the options hundred-fold (a drive into a fuzz can be a thing of surprises, both good and/or bad, and often a beautiful game-changer) – there are some basic flavors of fuzz. For example, there is the mid-cut of the typical Muff, and the mid-boost of the typical Rat. I usually record bass and drums first and then choose guitar sounds, so I pick fuzz pedals as much for their effect on my playing. Muffs can handle slower, doomier and more single-line stuff well, but can turn to mush on 16th notes, chords, octaves, slap-n-pop, etc. which can be OK, but a Rat will help you hear that complexity better.

But then, mids-forward fuzz can get lost in the guitars if they are fuzzed (think Pumpkins) or just cranked (think Metallica). A Rat pedal can often be helped with a parallel clean track to get more bottom, but that can be a PITA.

That’s where filters can come in handy: octave filters, envelope filters (used somewhat subtly), auto-wahs, etc. can bring the bottom, or the mids, as necessary. I tend to run the fuzz into the filters. Sometimes a light chorus or flanger can help, also, if the bass needs definition.

Also, do not automatically use compression into the fuzz; you probably don’t need it at all as fuzz itself compresses.

My personal EQ approach is to pass-filter all stringed instruments (60 and about 4.5k for bass), but try not to do anything else. That said, fuzz bass is as much the pedal as the bass, so … a notch at 350-400, a boost at 900 or so are not uncommon. (I like my kick under my bass.)

FWIW, I like Bass Muffs, Wicker Muffs, the Way Huge Swollen Pickle and Pork Loin (the Way Huge pedals are like more detailed and tweakable Muffs); I also like LM308 Rats, Zvex Distrotron and Mastrotron and Wooly Mammoth (the Zvexes are like blown-out Rats with gates). And then there are distortions which can be fuzz, like the Digitech Grunge pedal (not the bass grunge) and the MXR Bass Fullbore Distortion. Actually a lot of drive pedals can fuzz out if cranked; inexpensive but worthy options include the Blackstar pedals and the EHX Nanos like the Hot Tubes and The Glove, etc. Those Nanos, including the Soul Food, are cheap, and put in front of another drive/fuzz/distortion pedal can often add clarity, as well as drive the second pedal into fuzz-land. Then there are the Tech21 character pedals – the guitar-aimed can be awesome on bass (I use ’em when I need to DI, like when the kids are sleeping), and the VT is a joy for Ampegness. I don’t use multi-effects or modeling, except the Source Audio OFD is just so damn good, especially it’s gated fuzz. (But I hate the distortions on the Zoom MS60b …)

Finally, like guitars, you often need less fuzz than you think.

I mix with olive juice.

Pass filters

Posted inna thread about EQin’ shakers at TOMB:


FWIW, I consider pass-filters to be EQ because of how ya apply ’em, but really, what you are doing is just cutting the top or the bottom offa the track.

In that regard, then, there is no “smear” I can discern (as opposed to phasing when graffic or even cheap notch filters are used – usually not a problem ITB, anyway), and if any exists, it’s just at the edge of the frequencies that remain; IOW, a high-pass filter at 100Hz might have some phasing around that point, (less with a higher order filter?), but I can’t hear it.

And yep, I HPF almost everything – fuckit – everything.

Ain’t nothin’ needs < 20Hz, I reckon.

And re LPF, a lotta shite ain’t need >10kHz, neither.

I mix with olive juice.