Quick Bandlab Setting for Metallers 🤘🤘

 MAIN ISSUE: Muddy Low-Mid Build Up (200Hz–400Hz)

Your mix is congested in the low-mid region.

This causes:
-Vocal losing clarity
-Guitar sounding “boxy”
-Kick and bass fighting each other
-Overall mix sounding amateur instead of polished

It’s not a performance problem. It’s not even arrangement.
It’s frequency masking.

And this is extremely common in BandLab mixes because:
-Default EQ presets boost warmth
-Mobile monitoring exaggerates low mids

No proper subtractive EQ was done

🎯 Why This Is Killing The Mix

When 200–400Hz is overloaded:
• The vocal doesn’t cut through
• The guitar loses definition
• The bass sounds undefined instead of powerful
• The whole song feels “closed” instead of “wide”



🔧 EXACT FIX (In BandLab)

Do this step-by-step.

1️⃣ On Vocal Track

Open EQ:
High-pass at 80–100Hz
Cut around 250Hz (−3dB to −5dB)
Slight boost at 5kHz (+2dB) for clarity
Add air at 10kHz (+2dB shelf)
Result: Vocal will float above the mix.

2️⃣ On Guitar
High-pass at 100Hz
Cut 300Hz (−3dB)
Boost 2kHz slightly for presence
If distorted: cut 4kHz slightly if harsh.

3️⃣ On Bass
Boost 80Hz slightly
Cut 250Hz
Do NOT boost low mids.
You want: Low-end = tight
Mid clarity = clean
Not muddy warmth.

4️⃣ On Master (Very Important)

BandLab mastering presets often compress too hard.
If you're using a preset: Turn the intensity down.

Then:

Gentle multiband compression
Slight high shelf +1.5dB at 10kHz

Keep LUFS around -12 to -10 (don’t squash)
If your waveform looks like a brick — you're overcompressing.

⚠️ Secondary Issue 

-Reverb is washing the center.

-BandLab default reverb tends to:

-Add too much decay

-Blur vocal consonants

Fix:

Shorter decay (under 2.2s)
Pre-delay around 40ms
Lower wet mix under 20%
You want atmosphere — not fog.

🧠 Brutal Truth

Right now: It sounds like a good demo.
Not a finished record.
The arrangement is fine. The vibe is there. But frequency balance is not controlled professionally yet.

And that’s 100% fixable.

🔥 If You Want Pro Level (BandLab Only Strategy)
Mix at LOW volume.
Check mix in mono.
Use reference track 

Stop boosting. Start cutting.

Professional mixes are clean because they REMOVE mud, not because they ADD shine.

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CREDIT SONG: THE BARBENDER - Finally Free(B SIDE)

🔥 CORE RULE FOR METAL

Metal is NOT about boosting bass everywhere.

It’s about:

Tight sub (60–80Hz)

Scooped low-mid mud (200–350Hz)

Aggressive upper mids (2k–5k)

Controlled compression

If low-mids are messy → metal becomes garage rock.

🎤 VOCAL (Metal Style – Punchy & Cutting)

EQ

High-pass: 90Hz

Cut: 250Hz −4dB

Cut: 400Hz −2dB (if boxy)

Boost: 3kHz +3dB

Boost: 5kHz +2dB

High shelf: 10kHz +2dB

Compressor

Ratio: 4:1

Attack: 10ms

Release: 60ms

Gain reduction: 4–6dB

Optional:

Light saturation if available.

Goal: Vocal must sit ABOVE guitars, not inside them.

🎸 DISTORTED GUITAR (Heavy & Tight)

EQ

High-pass: 100Hz

Cut: 250Hz −3dB

Cut: 350Hz −2dB

Boost: 1.5kHz +2dB

Boost: 4kHz +2dB

Low-pass: 10kHz

Panning

Double track

Pan L 80 / R 80

Important:

Do NOT boost lows on guitar. Bass handles the weight.

🎸 BASS (Boosted Metal Low End – Tight Not Flabby)

We’re splitting tone idea mentally:

Low power + Mid growl.

LAMB OF GOD- Laid To Rest 

EQ

Boost: 60Hz +4dB

Boost: 80Hz +2dB

Cut: 250Hz −4dB

Boost: 700Hz +3dB

Boost: 1.5kHz +2dB

Compression

Ratio: 5:1

Attack: 25ms

Release: 80ms

Gain reduction: 6–8dB

This gives: Sub power + speaker growl.

If it sounds boomy → reduce 80Hz, not 60Hz.

🥁 DRUMS (Modern Metal Punch)

Kick

Boost 60–70Hz +4dB

Cut 250Hz −4dB

Boost 3kHz +4dB

Boost 5kHz +3dB

Compression: Fast attack, medium release.

Kick must “click” through guitars.

Snare

Boost 200Hz +2dB (body)

Boost 2kHz +3dB

Boost 5kHz +3dB

Cut 400Hz −3dB

Add short plate reverb (under 15% wet).

Overheads

High-pass 200Hz

Boost 8kHz +3dB

Keep cymbals bright but not harsh.

🎹 SYNTH (Metal Atmosphere Style)

For ambient width like modern cinematic metal:

EQ

High-pass: 150Hz

Cut: 300Hz −3dB

Boost: 8kHz +2dB

Stereo

Pan wide or use stereo enhancer lightly.

Keep synth out of low mids. It should float, not compete.

ITS GOES BETTER WITH Multi Cab Pro- 1 x12 American Deluxe

🔥 MASTER BUS (BandLab Friendly)

DO NOT use heavy mastering preset.

Instead:

EQ

Cut 250Hz −2dB

Boost 8kHz +1.5dB

Multiband Compression

Low band: light compression

Mid band: moderate

High band: gentle

Target loudness: -10 LUFS max. Don’t brickwall it.

If waveform is flat rectangle → you killed dynamics.

⚔️ Metal Balance Formula

Kick + Bass = foundation

Guitars = wall

Vocal = blade

Synth = atmosphere

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If bass disappears on phone speaker → increase 700Hz on bass.

STOP!!!

🎛 HOW TO BOOST 700Hz IN BANDLAB (Mobile)

Step 1

Open your Bass Track

Step 2

Tap FX

Step 3

Add → EQ3-M or Parametric EQ

Use Parametric EQ (better control).

🎚 SETTING 700Hz CORRECTLY

In Parametric EQ you’ll see:

Low band

Mid band

High band

You want the MID band.

🎯 Exact Settings

Frequency: 700Hz

Gain: +2dB to +4dB

Q (Width): Medium (not too narrow, not too wide)

If Q is:

Too narrow → sounds honky

Too wide → affects too much range

Keep it moderate.

🔥 Why 700Hz?

Phone speakers cannot reproduce:

60Hz

80Hz

100Hz properly

So your deep bass disappears.

But 700Hz is “upper bass / low mid growl”.

When boosted slightly:

Bass becomes audible on small speakers

Still keeps sub power on big speakers

That’s how modern metal mixes translate.

Bands like Bring Me the Horizon and Architects use this mid presence trick.

⚠️ Brutal Warning

Do NOT boost 700Hz if:

Your bass already sounds muddy.

If muddy: First cut 250Hz (-3dB) 

Then boost 700Hz.

🎧 Quick Test

After boosting 700Hz:

Play on phone speaker.

Lower volume.

If bass still audible → correct.

If it sounds nasal → reduce to +2dB.

💀 Final Brutal Truth

Sub bass impresses in headphones. Mid bass makes money in real world speakers.

If your bass only sounds good on earbuds but vanishes on phone, you mixed for ego — not translation.

If mix sounds muddy → cut 250Hz everywhere slightly.

⚠️ BandLab Reality Check

BandLab stock plugins are limited.

To get closer to real metal mix:

Always mix at low volume.

Check in mono.

Compare to reference.

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🔥 BEST METAL FX CHAIN (BandLab PC)

On PC, always follow this order:

Gate → Amp → EQ → Compressor → (Optional Saturation)

Order matters.

If compressor is before EQ, you compress mud.

🎸 METAL GUITAR (PC Setup)

FX Chain:

Noise Gate

Amp Simulator (Modern Hi-Gain / Metal Lead Stack)

Graphic EQ or Parametric EQ

Compressor

AMP SETTINGS

Gain: 60–70%

Bass: 40–45%

Mid: 35–45%

Treble: 65%

Presence: 60%

Too much gain = blurry mix.

EQ (Parametric)

Band 1 → High Pass 100Hz

Band 2 → 250Hz −3dB

Band 3 → 1.5kHz +2dB

Band 4 → 4kHz +2dB

Low Pass → 10kHz

Pan: Main guitars L75 / R75

Not 100.

🔥 2-LAYER BASS (PC DETAILED VERSION)

Now we do this properly.

Duplicate your bass track.

Rename them:

Bass_SUB

Bass_GROWL

🥊 LAYER 1 — SUB (Foundation)

FX:

Compressor → Parametric EQ

EQ Setup:

Band 1: Low shelf 60Hz +4dB

Band 2: 80Hz +2dB

Band 3: 250Hz −4dB

Band 4: LOW PASS at 400Hz

Everything above 400Hz reduced.

This layer should sound: Deep and smooth. Almost like a sine wave.

Keep it 100% center.

⚔️ LAYER 2 — GROWL (Translation Layer)

FX:

Amp Sim → Parametric EQ → Compressor

Amp: Light drive, not fuzz.

EQ:

High Pass at 120Hz

700Hz +3dB

1.5kHz +2dB

250Hz −3dB

No sub frequencies here.

This layer sounds ugly alone. That’s correct.

🎚 Blend Method

Lower Growl track until:

You don’t notice it alone. But when muted, mix feels weak.

That’s correct blending.

🎛 WHERE EXACTLY TO SET 700Hz IN PC

Open Parametric EQ.

Click one of the mid nodes.

Drag it until frequency reads around:

700 Hz

Then adjust Gain +2 to +3 dB.

Set Q to medium width (around 1.0–1.5 if adjustable).

If it sounds nasal → reduce gain slightly.

🎤 VOCAL FOR METAL (PC VERSION)

Chain: Compressor → EQ → De-Esser → Reverb (send)

EQ: HPF 90Hz

250Hz −4dB

3kHz +3dB

5kHz +2dB

10kHz +2dB shelf

Compression: Ratio 4:1

Attack 10ms

Release 60ms

4–6dB reduction

Keep vocal center.

🥁 DRUM BUS (PC)

Kick: 60Hz +4dB

250Hz −4dB

3–5kHz +4dB

Snare: 200Hz +2dB

400Hz −3dB

5kHz +3dB

Overheads: HPF 200Hz

8kHz +3dB

🎧 EAR BUD + PHONE TRANSLATION RULE

Below 120Hz = mono

Never stereo widen bass

Never reverb on sub

Modern metal like Architects keeps low end extremely centered.

Width comes from guitars and ambience — not bass.

⚠️ BRUTAL PC MISTAKES

Overusing stereo widener

Too much master limiter

Boosting 250Hz everywhere

Maxing distortion gain

Mixing too loud

Always mix at low volume.

If it punches quietly, it will destroy loudly.

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Most people destroy their mix on earbuds because they:

Over-pan guitars 100% L/R

Make bass too wide

Put reverb in full stereo

Ignore mono compatibility

Earbuds exaggerate stereo width and low end imbalance. If your mix only sounds good on speakers, it’s not finished.

Let’s fix this properly.

🎧 THE CORRECT WAY TO PAN FOR EARBUDS (Metal Mix)

Think in 3 layers:

Center = Power

Mid width = Body

Wide edges = Atmosphere

If you don’t respect this hierarchy, earbuds will sound messy.

🔥 CENTER (Never Move These)

These stay 100% center:

Kick

Snare

Bass (sub frequencies always mono)

Lead vocal

If bass is stereo, earbuds lose punch instantly.

Brutal rule: Low frequencies below 120Hz must be mono.

🎸 GUITARS (The Correct Way)

Most beginners pan: L100 / R100

That sounds big on speakers but hollow on earbuds.

Correct metal pan:

Rhythm GTR 1 → L70–80

Rhythm GTR 2 → R70–80

Not 100.

Why? Because earbuds separate hard L/R too aggressively. You lose glue.

If you have 4 guitars:

Main pair: L80 / R80

Secondary pair: L50 / R50 (lower volume)

This keeps width but maintains center weight.

🎹 SYNTHS & PADS

Never full wide all the time.

Pads → L60 / R60

FX swells → automate from center to L70/R70

Arps → L30 / R30

Movement should be subtle, not extreme.

🎤 BACKING VOCALS

Double vocal → L40 / R40

Harmony stack → L60 / R60

Never hard pan harmonies unless stylistic.

🎧 REVERB RULE (Most Important)

Earbuds exaggerate stereo reverb.

If reverb is too wide: The mix sounds blurry.

Correct method in BandLab:

Keep reverb wet under 20%

Use shorter decay (under 2.2s)

If possible, keep reverb slightly narrower than full stereo

Reverb should feel behind the vocal, not around your head.

🧠 THE MONO TEST (Brutal Test)

In BandLab:

Temporarily collapse mix to mono (or use mono plugin if available).

If:

Guitars disappear

Synth vanishes

Vocal drops

Your stereo information is phase-cancelling.

Fix: Reduce width. Avoid stereo wideners.

🎯 Earbud Sweet Spot Formula

Center (0%) Kick, Snare, Bass, Lead Vocal

Mid Pan (30–60%) Backing vocals, secondary guitars

Wide (60–80%) Main guitars, pads

Never 100 unless special FX moment.

⚔️ Modern Metal Reference Behavior

Listen to how tight and centered low end is in bands like Bring Me the Horizon or Architects.

Even when guitars are wide, the punch stays in the middle.

That’s why it translates on:

Earbuds

Car speakers

Phone speaker

🚨 Biggest Mistake I Hear in BandLab Mixes

People pan to create width.

Pros use:

Contrast

Frequency separation

Automation

Width comes from arrangement and EQ — not extreme panning.

🔥 Final Brutal Truth

If your mix only sounds powerful when you turn it loud, it’s not balanced.

A correct pan mix:

Sounds full at low volume

Keeps punch in mono

Doesn’t feel dizzy in earbuds

🎖️ WORLD WAR & THE SONGS THAT ECHOED THROUGH HISTORY

 

Introduction: When War Meets Music

War changes the world. But while bullets fly and empires fall, music rises.

During both World War I and World War II, songs became powerful weapons—not of destruction, but of emotion. They inspired soldiers, comforted families, spread propaganda, and sometimes questioned the very purpose of war itself.

This documentary explores how war shaped music—and how music shaped history.

🎺 PART I: WORLD WAR I (1914–1918)

The Birth of Modern War Songs

World War I was called “The Great War.” It introduced trench warfare, chemical weapons, and global destruction on a scale never seen before. Yet amid the horror, songs became a lifeline.

🎵 “It’s a Long Way to Tipperary” – 1912

Originally written by Jack Judge, this upbeat marching song became the unofficial anthem of British troops. Soldiers sang it in trenches to stay hopeful.

It wasn’t about war—it was about home.
And that’s what made it powerful.

---

Lyrics

VERSE 1
Up to mighty London came an Irish man one day,
As the street are paved with gold, sure ev’ry one was gay;
Singing songs of Piccadilly,
Strand and Leicester Square,
Till Paddy got excited, then he shouted to them there:

CHORUS

“It’s a long way to Tipperary,
It’s a long way to go;
It’s a long way to Tipperary,
To the sweetest girl I know!
Goodbye Piccadilly,
Farewell, Leicester Square,
It’s a long way to Tipperary,
But my heart’s right there!”
“It’s a there!”

VERSE 2
Paddy wrote a letter to his Irish Molly O’,
Saying, “Should you not receive it, write and let me know!
“If I make mistakes in “spelling”, Molly dear”, said he,
“Remember it’s the pen that’s bad, don’t lay the blame on me”

CHORUS

VERSE 3
Molly wrote a neat reply to Irish Paddy O’
Saying, “Mike Maloney wants to marry me, and so
Leave the Strand and Piccadilly, or you’ll be to blame,
For love has fairly drove me silly hoping you’re the same!”

🎵 “Over There” – 1917

Composed by George M. Cohan, this song became America’s patriotic battle cry after the U.S. entered the war.

“The Yanks are coming…”

It boosted morale and encouraged enlistment. Music became recruitment propaganda.

---

🎵 “La Madelon” – France

This French café song became symbolic of French soldiers’ daily life during WWI—mixing romance, humor, and resilience.

---

💣 PART II: WORLD WAR II (1939–1945)

Music as Propaganda, Hope & Resistance

World War II expanded across Europe, Asia, and the Pacific. Governments quickly realized music’s psychological power.

---

🇬🇧 Britain’s Voice of Hope

🎵 “We’ll Meet Again” – 1939

Performed by Vera Lynn, this song became the emotional heartbeat of wartime Britain.

Families separated by bombings held onto its promise:

“We’ll meet again, don’t know where, don’t know when…”

Even today, it remains one of the most iconic WWII songs.

Let's say goodbye with a smile, dear
Just for a while dear we must part
Don't let this parting upset you
I'll not forget you, sweetheart

We'll meet again
Don't know where
Don't know when
But I know we'll meet again some sunny day

Keep smiling through
Just like you always do
'Til the blue skies chase those dark clouds far away

And I will just say hello
To the folks that you know
Tell them you won't be long
They'll be happy to know
That as I saw you go
You were singing this song

We'll meet again
Don't know where
Don't know when
But I know we'll meet again some sunny day

And I will just say hello
To the folks that you know
Tell them you won't be long
They'll be happy to know
That as I saw you go
You were singing this song

We'll meet again
Don't know where
Don't know when
But I know we'll meet again some sunny day

---

🇺🇸 America Swings to War

🎵 “Boogie Woogie Bugle Boy” – 1941

Performed by The Andrews Sisters, this upbeat swing track celebrated military life with rhythm and humor.

It showed that even during war, entertainment was necessary for morale.

---

🎵 “White Christmas” – 1942

Sung by Bing Crosby, this became the best-selling single of all time.

For soldiers overseas, it symbolized longing for peace and home.

[Verse 1: Bing Crosby & Choir]
I'm dreaming of a white Christmas
Just like the ones I used to know (Ooh)
Where the treetops glisten and children listen
To hear sleigh bells in the snow

[Verse 2: Bing Crosby & Choir]
I'm dreaming of a white Christmas
With every Christmas card I write (Ooh)
May your days be merry and bright
And may all your Christmases be white

[Verse 1: Choir]
I'm dreaming of a white Christmas
Just like the ones I used to know (Ooh)
Where the treetops glisten and children listen
To hear (To hear the sleigh bеlls in the snow)

[Verse 2: Choir, Bing Crosby, Both]
I'm dreaming of a white Christmas
With еvery Christmas card I write (Mm)
May your days be merry and bright
And may all your Christmases be white (Mm)
Mm-mm-mm (Mm)

---

🇩🇪 & 🇯🇵 War Music

Nazi Germany and Imperial Japan also used music heavily for propaganda. Military marches and patriotic songs were broadcast widely to control public morale.

However, resistance songs secretly emerged in occupied territories—music became rebellion.

---

🔥 PART III: Post-War & Anti-War Songs

After WWII, musicians began questioning war instead of glorifying it.

---

🎵 “Blowin’ in the Wind” – 1963

Written by Bob Dylan, this became an anthem for peace movements during the Vietnam War.

---

🎵 “Imagine” – 1971

By John Lennon, the song envisioned a world without war, borders, or division.

---

🎵 “Sunday Bloody Sunday” – 1983

By U2, this powerful track reflected on conflict in Northern Ireland and questioned violence.

---

🎵 “War IS Over” – 2026

Song by The Barbender...release on this year 

🎼 The Role of Music in War

Music during wartime served multiple purposes:

• 🎖️ Boosting morale

• 📻 Propaganda tool

• 💌 Emotional comfort

• ✊ Symbol of resistance

• 🕊️ Call for peace

From marching songs to protest rock, war music evolved with society.

---

🎬 Final Reflection

War destroys cities.
But music rebuilds spirit.

The songs born from World War I and II still echo today—not just as historical artifacts, but as reminders of humanity in its darkest hours.

When we listen to these songs, we don’t just hear melody.

We hear history.....

How to Play Like TRIVIUM??

Playing like TRIVIUM means combining modern metal precision, thrash aggression, and melodic metalcore elements—both in guitar work and overall band approach. Here’s a clear breakdown you can actually practice 👇

1️⃣ Guitar Style (Core of Trivium)

🔥 Rhythm Guitar

Trivium’s backbone is tight, aggressive rhythm playing.

Key techniques:

Down-picking + fast alternate picking

Palm muting (very controlled, not too choked)

Galloping rhythms (influenced by Metallica)

Syncopated chugs

Practice this:

Play 16th-note chugs at 160–200 BPM

Alternate between open low strings and power chords

Practice riffing in E Standard and Drop D

Some songs use Drop C

🎵 Songs to study:

Rain

Pull Harder on the Strings of Your Martyr

In Waves

Down From the Sky

From Ember To Inferno

🎸 Lead Guitar

Trivium mixes thrash shredding with melodic harmony.

Common elements:

Harmonic minor & natural minor scales

Dual-guitar harmonies (Iron Maiden influence)

Fast legato + alternate picking

Tremolo-picked melodies

🎵 Practice ideas:

Harmonize melodies in 3rds & 5ths

Sweep picking minor arpeggios

Learn solos from Shogun and Ascendancy

GUITAR TUTORIAL : LIKE LIGHT WITH THE FLIES 

2️⃣ Guitar Tone (Very Important)

🎛️ Amp / Tone Settings

Modern but aggressive, not too scooped.

Typical tone:

Gain: 6–7

Mids: 5–6

Bass: 5

Treble/Presence: 6–7

Gear style (examples):

High-gain amps (Mesa, Peavey, EVH style)

Tight overdrive (Tube Screamer style) before amp

Noise gate is essential

🎸 Guitar:

Humbuckers (bridge pickup)

Thick strings (10–52 or 11–54)

3️⃣ Drums (If You’re Playing in a Band)

Fast double bass

Thrash beats + metalcore breakdowns

Tight stops and starts

🎵 Study:

The Crusade

Shogun

In Waves

4️⃣ Bass (Your Area of Strength 😉)

Since you play bass 🎸:

Follow guitar riffs tightly

Use pick playing

Slight overdrive/distortion

Emphasize low-end punch + mids

🎵 Listen to:

Paolo Gregoletto’s bass lines (simple but aggressive)

5️⃣ Vocals (If You Want the Full Trivium Sound)

Mix of harsh screams + clean melodic singing

Chorus = clean vocals

Verse = aggressive screams

⚠️ Learn proper technique to avoid vocal damage

6️⃣ Songwriting Formula (Very Trivium)

Structure often looks like:

Copy code

Intro riff

Verse (aggressive)

Pre-chorus (build tension)

Chorus (melodic & big)

Verse 2

Breakdown / Thrash riff

Solo

Final chorus

Outro riff

7️⃣ Practice Routine (Daily – 45–60 min)

10 min – Down-picking endurance

15 min – Riff writing in E / Drop D

10 min – Scale & harmony practice

10 min – Learn 1 Trivium riff/solo section

5 min – Tight chugging with metronome

8️⃣ Bands to Study Alongside Trivium

Metallica (thrash roots)

Iron Maiden (melody & harmony)

Killswitch Engage (metalcore structure)

Megadeth (technical riffs)

If you want, tell me:

🎸 Guitar or bass focus?

🎼 Beginner / intermediate / advanced?

🎧 Specific Trivium era (Ascendancy / Shogun / In Waves)?

I can give you exact riffs, scales, or a Trivium-style practice plan next 🤘🔥

---------------------

Paolo Gregoletto’s bass tone is aggressive, tight, and cuts through heavy guitars without getting muddy. Since you play bass (and you own an Ibanez Ergodyne), you’re already on a good path. Here’s how to get as close as possible to Paolo’s tone 🎸🔥

1️⃣ Core Characteristics of Paolo’s Tone

Think of it as:

Pick attack

Mid-focused grind

Controlled low end

Light distortion, not fuzz

It’s NOT boomy and NOT overly clean.

2️⃣ Playing Technique (VERY IMPORTANT)

🎯 Pick Playing (Mandatory)

Paolo always uses a pick.

Tips:

Medium–heavy pick (0.88–1.14mm)

Pick near the bridge for tight attack

Consistent downstrokes for chug parts

Lock in perfectly with guitar palm-mutes

⚠️ Even the best tone setup won’t work without this.

3️⃣ Bass Guitar Setup

🎸 Your Ibanez Ergodyne

Good news—this bass works well for metal.

Setup tips:

Bridge pickup 100%

Neck pickup off or very low

Fresh roundwound strings

🔩 Strings

Paolo typically uses heavy strings.

Recommended:

45–105 (standard tuning)

50–110 if Drop D / Drop C

Brands don’t matter as much—fresh strings matter more.

4️⃣ Amp / EQ Settings (Generic but Accurate)

🎛️ Basic EQ (Start Here)

Copy code

Bass:     4–5

Low mids: 6–7   ← very important

High mids:6–7   ← pick attack & growl

Treble:  5–6

❌ Don’t scoop mids

❌ Don’t boost bass too much

Paolo’s tone lives in the midrange, not sub-bass.

5️⃣ Distortion / Overdrive (Key Ingredient)

Paolo uses light overdrive, not heavy distortion.

🎚️ Overdrive Settings (Tube Screamer / Darkglass style)

Drive: Low (10–20%)

Blend: 50–70% clean

Tone: Slightly bright

Purpose:

Adds grit

Helps bass cut through guitars

Keeps low end tight

If no blend knob → keep drive VERY low.

6️⃣ Signal Chain (Simple & Effective)

Ideal order:

Copy code

Bass

→ Tuner

→ Overdrive

→ Compressor

→ Amp / DI

🎛️ Compression

Ratio: 4:1

Attack: Medium

Release: Medium-fast

Just tame peaks—don’t squash tone

7️⃣ Example “Paolo-Style” Tone Preset

If using a multi-effects / amp sim:

Copy code

Pick style: ON

Overdrive: Light

Bass EQ: Slight cut

Low mids: Boost

High mids: Boost

Treble: Moderate

Compression: Mild

Noise gate: Optional

8️⃣ Songs to Reference (Critical)

Play these while dialing tone:

In Waves

Down From the Sky

Pull Harder on the Strings of Your Martyr

Rain

If your bass is clearly audible during chugs → you’re close.

9️⃣ Common Mistakes ❌

Too much distortion

Too much bass

Playing with fingers

Scooped mids

Old strings

10️⃣ Want It EVEN CLOSER?

Tell me: 1️⃣ What amp / pedal / multi-FX are you using?

2️⃣ Tuning (E / Drop D / Drop C)?

3️⃣ Live tone or recording tone?

I’ll dial exact EQ + pedal settings for your setup—Paolo-level precision 🤘🔥

Kramer 1983 Baretta Reissue Available Now Worldwide

 

Faithful Reissue of Groundbreaking Baretta is the First Offering From the Kramer Historic Collection, Made in Japan. Ni

Kramer, the original Made to Rock Hard guitar brand has been setting trends with premium, performance-focused instruments since 1976. Kramer is proud to announce the first offering from the new Kramer Historic Collection, Made in Japan. This new legend is lovingly handcrafted in Japan based on scans and details from an original “Holy Grail” Baretta. The Kramer 1983 Baretta Reissue is now available globally and at all authorized Kramer dealers and on www.KramerGuitars.com.

In 1983, the Kramer Baretta was first introduced to the world. Few models can claim to have changed the course of musical history, but that is exactly what the Baretta did when it was embraced by a new generation of highly innovative hard rock and metal guitarists. 

The wildly successful Baretta was the perfect platform for their fretboard pyrotechnics, and its success was a major contributor to Kramer becoming the most popular guitar brand in the world by the mid-1980s. 

With its double cutaway maple body providing excellent sustain and unimpeded access to the Rosewood fretboard, the powerful simplicity of the Baretta’s single Seymour Duncan® ’59 pickup paired with a single volume control, and a Floyd Rose R5 locking tremolo that stays in tune under even the most demanding wiggle stick acrobatics, it is still the quintessential hard rock and metal guitar that is Made to Rock Hard.

KID ISABELLA GUITAR OUTRO

 This faithful reissue of the groundbreaking 1983 Baretta was lovingly crafted in Japan to vintage specifications and comes with a Kramer hardshell case.

With its Original, Modern, Artist, and Historic Collections, Kramer offers entry-level and intermediate options, as well as guitars for professional musicians, and continues to be the guitar of choice for today’s rock and metal legends.

MERAIKAN 40 TAHUN GLAM ROCK MALAYSIA (1986-2026)

 MERAIKAN 40 TAHUN GLAM ROCK MALAYSIA (1986-2026)

1. Tahun 2026 ini merupakan tahun yang amat penting kerana ekologi glam rock Malaysia meraikan ulangtahun ke-40.

2. 1986 bukan sahaja tahun yang melancarkan era glam rock Malaysia, namun merupakan tahun yang penuh ketulenan kerana semuanya bersifat “natural” dan masih belum diasak oleh tuntutan komersil (yang bermula secara beransur-ansur pada 1987).

3. Hanya dalam tempoh satu bulan iaitu Februari 1986, babak glam rock dilancarkan oleh tiga peristiwa penting. 

Dua darinya lahir dari tangan Ali Bakar iaitu Konsert BOTB di Stadium Negara dan Konsert Dari Panggung Anniversari.

SEARCH- HEAVY CHAINS

4. Memanaskan lagi babak ialah pembukaan filem kultus, Kembara Seniman Jalanan arahan Nasir Jani yang penggambarannya telah dimulakan sejak 1985 lagi. KSJ juga merupakan lambang penyerahan baton dari era rock generasi lama yang ditandai oleh kumpulan-kumpulan seperti Sweet Charity, Unwanted, Blues Gang, Kembara dan dr Sam & Musafir.

5. Menyusuli pada tahun yang sama ialah rancangan Muzik-Muzik oleh TV3 – rancangan yang kemudiannya menjadi platform penting untuk kumpulan rock Melayu untuk membina populariti.

6. Walaupun babak rock sedikit tergendala berikutan pengharaman konsert terbuka setelah insiden BOTB Sungai Nibong, tahun 1986 ditutup dengan kelahiran siri Juara-Juara Rock yang dianjurkan oleh Lokman Junit. Pertandingan yang akhirnya dijuarai oleh May ini mencambahkan begitu banyak band rock yang mencari “pentas besar pertama”. Dari Infra Red di Kedah sehinggalah Metal Wizard di Pahang.

7. Demam yang sama turut melanda Sabah dan Sarawak. Antara band-band local yang menjadi sebutan ialah Heavy Duty yang berasal dari Miri dan Blue Jeans dari Tuaran.

8. Selain dari band-band yang melakukan kemunculan sulung pada 1986 menerusi Battle of The Bands dan Juara-Juara Rock, tahun itu juga menyaksikan kemunculan album “Langit dan Bumi “dari Search, album “Keadilan” dari Lefthanded, album “Anak Merdeka” dari Ella & The Boys dan album “Headwind 86”.

9. Wings juga melakukan kemunculan sulung pada tahun itu dan tidak dilupakan pelukis cover album rock, Boul yang mula mencuri tumpuan peminat dengan lukisan berus airnya. SYJ pula menjadi Raja Funfair apabila menjajah hampir setiap fun fair yang wujud sepanjang tahun 1986.

WINGS- MANCIS DAH BASAH

10. Bukan sahaja Malaysia, malah Singapura turut tidak terkecuali dengan tempias rock. Jika Malaysia mempunyai insiden Sungai Nibong, Singapura juga merasai penangan yang sama dengan kekecohan yang berlaku dalam Heavy Metal Festival pada September 1986.

 Selebihnya adalah sejarah buat dua kumpulan pemula mereka, Rusty Blade dan Rockers.

RUSTY BLADE LIVE- TIADA LAGI AKU

11. Tidak ada tahun yang lebih “real” selain 1986. Ia adalah "tahun emas". Jika aku mempunyai terowong masa, ia adalah antara tahun yang ingin aku kembali.

12.Kerana itu, aku letakkan 1986 sebagai bab dan skop akhir dalam buku "65 Tahun Muzik Rock di Malaysia" (Siri 1). Walaupun pada peringkat awal, aku ingin menyudahkan buku itu dengan perkembangan sehingga tahun 1985 sahaja dan meletakkan 1986 sebagai  pembukaan untuk buku Siri 2, aku terfikir juga kalau-kalau aku tidak diberi kesempatan menyiapkan buku Siri 2.

13. Jadi opsyen terbaik ialah memasukkan tahun 1986 bagi meletakkan konteks terhadap era transisi yang penuh gemilang itu.

Bagi yang ingin membaca lebih lanjut dan terperinci apa yang berlaku pada tahun 1986 itu, boleh dapatkan buku merah – “65 Tahun Muzik Rock di Malaysia” di SHOPPE..

https://s.shopee.com.my/1Vt37Q3Mvf?share_channel_code=2


Credit: fb Taki Takiyuddin

Kenapa perlu SESIONIST?

 Apakah penyebab ada album² dari band² 90an menggunakan khidmat sessionist?

17 GUITARIST SESIONIST MALAYA..

Bukan nak mengaibkan sesiapa.

Demi menjawab pertuduhan² n adakalanya lebih kearah menimbulkan fitnah.

Tuduhan seolah bandboy² kita terlalu low class.

So gua pecahkan ada 4 kelompok utama terlibat:

1)Artis 2)Produser 3)Sessionist 4)Rekod company.

Mereka2 ini tenaga utama dalam pembikinan sesebuah album.

Firstly, kita kaji dulu dari sudut artis itu sendiri.

Majoriti yang dah sain kontrak dengan rekod comp adalah musician yang bagus n talent.

Kalau tak, masakan mereka boleh lulus audition?

Jadi apakah faktor penyebab album mereka terpaksa guna khidmat sessionist?

1) Kekangan duit. 

Ini isu utama.

Kebanyakkan diantara mereka bila dah sain kontrak, mereka dapat bayaran yang ciput dari rekod comp atau publisher.

Ada yang tak dapat langsung hingga terpaksa mengemis pada company untuk tampung kos sewa rumah sewaktu mereka tengah recording.

Ini belum kira duit makan n tambang lagi.

Tambah bila duduk di KL, kos hidup lebih tinggi.

Majoritinya yang terlibat pula adalah mereka² yang datang dari jauh n luar bandar.

Jika ditempat asal mereka setakat rm10-20 boleh cari mana².

Tapi bila dah duduk di KL, sedara mara pun takda.

Kawan pun cuma bandmate saja.

Sedangkan bandmate pula senasib dengannya.

Jadi bila dah booking studio recording mereka berdepan dengan masalah nak ke studio.

Jika sampai ke studio, habis saja recording terpaksa la tido di studio kerana bas dah habis.

Nak balik naik teksi pun tak mampu.

Sudahnya tido la beramai² di studio.

Part makan pandai² la nak hidup.

Dah terpaksa fikir pula macamana nak tempuh hari seterusnya nak menyiapkan album dalam keadaan serba tiada.

Jadi bila rekod company dah bising sebab lambat, terpaksalah produser gunakan khidmat sessionist untuk percepatkan kerja.

2) Masalah komunikasi.

Ini juga satu masalah dizaman itu.

Zaman tu smartphone takda.

Talipon yang ada masa tu, cuma ada di rumah, pejabat atau public phone.

Jadi waktu studio adakalanya mereka terlepas kerana tak tahu waktu sebenar studio telah dibooking tambah lagi produser pula tak dapat hubungi mereka.

3) Transport.

Pada zaman itu pengangkutan yang ada cuma bas n teksi.

Tak semua tempat bas akan lalu.

Kebanyakkan studio jauh dari laluan bas.

Jika ada duit boleh la naik teksi.

Ada juga yang kental sanggup jalan kaki ke studio.

Tapi bila hujan...?

4) Kurang pengalaman.

Ini yang sering berlaku.

Kurangnya ilmu n pendedahan.

Ada yang teruja, ada yang sebaliknya bila terlihat mixer 100 channel terpampang didepan mata.

Jika dapat produser yang sporting sanggup beri tunjuk ajar, beruntunglah artis tersebut.

Jika dapat produser macam Hattan dalam cerita Rock O, pakat melingkup la sudahnya.

5) Kekurangan peralatan yang sepatutnya digunakan semasa recording.

Terutama pedal efek yang sesuai untuk digunakan masa rakaman.

Produser atau artis sendiri inginkan sound yang sedap tapi terhalang kerana tak memilikki peralatan yang sepatutnya.

Sudahnya sessionist juga yang untung kerana memilikki peralatan yang lengkap untuk rakaman.

Yang untung si vokalis sebab tak perlu bawa apa².

6) Masalah hubungan persahabatan.

Ada dikalangan sessionist juga tak punya job.

Tapi kerana hubungan yang baik dia dengan producer, maka atas dasar kawan, produser tersebut pun izinkan sessionist tersebut siapkan projeknya atas dasar ingin membantu kawan.

Hinggalah projek seterusnya, senario yang sama akan berulang.

Maka bandboy sekadar mampu memandang.

7) Ada antara bandboy yang terlibat dengan kemalangan semasa proses rakaman.

Kecederaan memaksanya berehat.

Ada yang berdepan masalah keluarga hingga memaksa produser tak dapat menunggu lebih lama.

Inilah kisah yang berlaku dipihak bandboy.

Ada banyak lagi kes tapi disini gua share masalah² yang paling selalu berlaku saja.

Bila tengok filem Rock O, itulah kisah sebenar hidup rocker2 kita.

Jadi pada pihak peminat, jangan dengar n mudah percaya berita sebelah pihak semata.

Kerana ada juga pihak yang jadikan peminat sebagai kambing hitam mereka.

Majoriti bandboy kita miskin wang ringgit tapi jiwa n semangat mereka kaya.

Terpaksa berkorban n terkorban kerana cita².

Mereka juga sering dapat tekanan dari pemerintah.

Malangnya bila album berjaya, yang kaya tetap rekod company n produser.

Bandboy dianggap penghias industri semata.

Credit: fb Zaha Spring

Rotting Christ: A Complete Discovery

 

Origins & Formation (1987–1992)

Rotting Christ was formed in 1987 in Athens, Greece, by brothers Sakis Tolis (vocals, guitar) and Themis Tolis (drums). In their earliest years, the band was deeply rooted in the grindcore and death metal underground, influenced by bands like Napalm Death, Bathory, and early Celtic Frost.

Their earliest demos such as Decline’s Return (1988) and Passage to Arcturo (1989) showed raw aggression, but it was clear the band was already moving toward a darker, more atmospheric sound.

By the early 1990s, Rotting Christ became one of the founding pillars of the Hellenic black metal scene, alongside bands like Varathron and Necromantia—a scene known for its epic, ritualistic, and mid-tempo approach, rather than the icy chaos of Scandinavian black metal.

Musical Evolution & Identity

What makes Rotting Christ unique is their constant evolution:

Early era: raw black/death metal

Mid-90s: melodic, occult black metal

2000s onward: ritualistic, pagan, gothic, and symphonic elements

Later years: chant-driven, spiritual, and cinematic extreme metal

Lyrically, the band explores:

Ancient paganism

Anti-dogma philosophy

Occult mysticism

Mythology and spirituality

Existential rebellion

Rotting Christ is less about shock and more about ceremony, atmosphere, and transcendence.

Full Studio Album Discography (Chronological)

1. Thy Mighty Contract (1993)

A landmark album in Hellenic black metal history.

Raw, mid-tempo, and deeply occult.

Key tracks:

The Sign of Evil Existence

ROTTING CHRIST- THE SIGN OF EVIL EXISTENCE

Fgmenth, Thy Gift

      

Seremoth, Levino, Alchemoth

In lust time come forth
Arise from the chaos nights         
Thy majesty devour the son

Thy gift deserves you
The offer of Absu
Fgmenth beloved successor
See all dreams come true
Deliver us to him
Obey in the power create me
Inside my eyes your sight

Inside my mind your voice
A silent word attack me
It's called Razal Tach
The one connect our lifes

Transform All Sufferings into Plagues

2. Non Serviam (1994)

More melodic and refined, with clearer songwriting.

The title means “I will not serve”—a declaration of defiance.

Key tracks:

Non Serviam

The Fifth Illusion

3. Triarchy of the Lost Lovers (1996)

A major turning point. Dark, gothic, and emotional.

Often cited as one of their best albums.

Key tracks:

King of a Stellar War

A Dynasty from the Ice

4. A Dead Poem (1997)

Melancholic, introspective, and atmospheric.

Minimalist yet powerful.

Key tracks:

Among Two Storms

As If by Magic

5. Sleep of the Angels (1999)

More gothic and experimental. Clean vocals appear more prominently.

Key tracks:

Cold Colours

After Dark I Feel

6. Khronos (2000)

A darker, more aggressive return, blending gothic and black metal.

Key tracks:

Khronos

Fateless

7. Genesis (2002)

Biblical themes, heavier riffing, and modern production.

Key tracks:

The Call of the Aethyrs

Release Me

8. Sanctus Diavolos (2004)

A ritualistic, chant-heavy album with a spiritual atmosphere.

Key tracks:

Visions of a Blind Order

Thy Wings Thy Horns Thy Sin

9. Theogonia (2007)

Inspired by ancient Greek mythology.

Epic, pagan, and triumphant—one of their most celebrated works.

Key tracks:

Keravnos Kivernitos

Enuma Elish

10. AEALO (2010)

Focused on Hellenic pagan heritage and folk influences.

Key tracks:

Noctis Era

Pir Threontai

11. Kata Ton Daimona Eaytoy (2013)

Dark, meditative, and introspective.

Title means “True to One’s Own Demon.”

Key tracks:

In Yumen-Xibalba

Grandis Spiritus Diavolos

12. Rituals (2016)

A global spiritual journey—lyrics in Latin, Sanskrit, Arabic, and more.

Key tracks:

Ze Nigmar

For a Voice Like Thunder

13. The Heretics (2019)

Aggressive, modern, and confrontational.

A statement of resistance and individuality.

Key tracks:

Fire, God and Fear

Heaven and Hell and Fire

14. Pro Xristou (2024) – Latest Album

Meaning “Before Christ”, this album returns to pre-Christian pagan spirituality.

Militant, chant-driven, and epic—blending their early darkness with modern power.

Key tracks:

Like Father, Like Son

The Apostate

Pretty World, Pretty Dies

Legacy & Influence

"Primal Resurrection"

Key Aspects of "Primal Resurrection" (Rotting Christ Song):

• Release: Featured as a bonus track on the deluxe edition of the 2024 album Pro Xristou.
• Theme: The lyrics, composed by Sakis Tolis, focus on ancient wisdom, nature, and, according to Abaddon Magazine, a, journey back to a time when gods walked among men.
• Style: Described as a gothic, heavy metal anthem that highlights the "silent dimension" and "voice of confession". 
• Key Aspects of "Primal Resurrection" (W.J. Lundy Book):

• Series: Book 8 of the Whiskey Tango Foxtrot (WTF) series, a, post-apocalyptic saga focused on survival in a world filled with infected creatures.
• Plot: The story continues two years after the initial fall, focusing on the "Primals," a new, more dangerous type of infected, as they become the dominant,,, apex predator, forcing survivors to fight for resources.
• Author: W.J. Lundy, known for military-style, fast-paced, and realistic,,, apocalypse fiction. 
• 
  
• Both works, despite being in different media, share a thematic focus on primal,,,, forces—either in the form of, ancient nature or,, ,,, , ,,, ,,, , , the, , primal, , , hunger, , of, , , the, , , ,, , , undead. 

Rotting Christ is widely regarded as:

One of the most influential black metal bands outside Scandinavia

A band that successfully evolved without losing identity

A live force known for ritualistic, powerful performances

--------------------

🖤 Santa Muerte (Re-Recorded) — Rotting Christ (2026)

Context:

“Santa Muerte” first appeared on Aealo, the band’s 11th studio album from 2010. �

Napalm Records

In January 2026, Rotting Christ released a re-recorded, remixed, and remastered version of the track ahead of the full Aealo (Re-Recorded) release on 23 January 2026. �MetalSucks +1

This updated version presents one of the standout songs from Aealo with modern production clarity, more depth, and a fuller sound that brings its ritualistic aggression and atmosphere to the forefront.

🎵 Sound & Style

Production: The re-recorded “Santa Muerte” benefits from cleaner, more powerful mixing and mastering, giving the instruments and vocals added punch compared to the original 2010 recording. �

Metal Injection

Atmosphere: It retains the dark, ritualistic, and epic character that Rotting Christ fans know from Aealo, enriched by tribal rhythms, melodic guitar lines, and a sense of ceremonial drama. �

Metal Bizarre

Intensity: The track remains one of the most aggressive and energetic moments on the album, combining black metal ferocity with the band’s signature Greek melodic sensibilities — something long-time fans often cite as distinctive about Rotting Christ’s style. �

RocknWorld

🧠 Why It Matters

Fan Service & Legacy: This re-recording isn’t a new album per se, but rather a celebration of one of the band’s pivotal eras — the Aealo period — with updated sonic quality for modern listeners. �

MetalSucks

Bridge Between Eras: It showcases how a classic Rotting Christ song sounds when enhanced with today’s production standards, making it more accessible without losing its original spirit. �

Metal Injection

Historical Importance: “Santa Muerte” is often highlighted by reviewers and fans as one of the more compelling tracks from Aealo — noted for its blend of melodic depth and ritual aggression. �

Debaser

⭐ Final Impressions

“Santa Muerte (Re-Recorded)” is a worthy revisit of a classic Rotting Christ song — a track that:

✔ Delivers raw energy and ritualistic atmosphere

✔ Sounds fuller and more dynamic thanks to updated production

✔ Honors the band’s past while engaging new and old listeners alike

If you loved Aealo originally, this version gives you a fresh lens to experience one of its best songs — and it works as a taste of what the re-released album will offer. �

Metal Bizarre