Omerta single “Gay Hitler”
The idea to record and produce Omerta’s debut single, “Gay Hitler” came about when the lead singer James, wanted a DIY, stripped-back, live-style recording for the band’s latest release. As I had previously worked on recording my own singles as well as other artists’ music, he was familiar with my recording style, which focuses on simplicity and capturing authentic performances.
When recording, I like to use as few takes as possible in order to capture the live element of a performance, as the imperfections often make the song what it is. I first programmed the drum machine beat to use as a metronome and tempo guide for the recording. I then brought the guitarist and bassist into the shed to record their parts simultaneously so that they could bounce off each other and maintain a live feel.
The guitar and bass only took two takes to record, which I was pleased with, as there were a few imperfections that I felt added character to the track. After this, I brought the vocalist and drummer into the shed to record the next parts together.
I used a simple drum setup consisting of:
- An electronic kick drum
- An acoustic hi-hat
- A snare drum
- Cymbals
I used only two microphones:
- An overhead microphone
- A condenser microphone positioned as a crotch mic
The limited number of microphones helped achieve the saturated and distorted sound I was aiming for. Additionally, the bleed from the vocalist’s screaming into the drum microphones contributed to the overall ambience and energy of the recording.
Next, I recorded the synth player. I set up his synthesiser and ran it through multiple effects pedals so that I could manually control the delay and distortion during different sections of the song. This approach enhanced the live feel of the recording, as it mirrored how effects would be activated during a live performance rather than relying on plug-ins and automation within the DAW.
I used a similar process for the guitarist and bassist, although it was slightly more complicated because they were performing simultaneously.
All recording was completed in less than an hour, including multiple takes and overdubs.
When it came to mixing the track, I wanted to use as few plug-ins and as little EQ as possible. My goal was to preserve the raw quality of the recording and make it feel as though it had been captured live at a show.
The main focus of the mix was balancing each instrument and using stereo placement to create separation while maintaining the dense wall of noise that defines the song’s sound.
The final stereo placement was:
- Kick drum – mono
- Bass – mono
- Main guitar – mono
- Additional guitar – very wide
- Synths – wide stereo background
- Vocals – mono
- Drum overheads – very wide
- Condenser microphone – mono
I found it challenging to use left and right panning effectively while ensuring that each instrument occupied its own space within the mix and contributed to the overall wall-of-noise aesthetic.
When it came to mastering the track, I created three different masters:
- One standard digital master
- One master processed through Ozone
- One master transferred to cassette
The primary focus during mastering was achieving the right balance of punch, clarity, and loudness while preserving the raw energy of the mix.
Leave a Reply