Hello all! I usually ask for tips like this on Gearslutz, since I'm a prog rockin' synth player. But I have a mixing and mastering question that guitarists and metal types would be able to answer a bit better.

All my instrumentation is keyboards and drum machines, but rather than have a clean, polished sound I want something a bit more raw - the music is quite heavy and I'm trying to mix and master the track to have that dry, sludgy, echoey Relapse Records-type sound. Specifically, Red Album by Baroness is a reference point, since the tones are warm and boomy with lots of dynamics and analogue noise.

Has anyone got any tips for applying reverb, EQ and compression to get that 'live in the studio' sound on the master mix? I like that you can 'hear the room' in the recording and I was wondering if there's a way to replicate the sound with effects.

Any help would be greatly appreciated. Cheers!
First of all, you're better off on gearslutz for asking this kinda stuff.

That album is not particularly dynamic.
Between 6 an 9dBu between peak and RMS levels in all songs.

Are you sure you have clear what you want to achieve?
'cause at first you wrote you want a dry sound, and then you want to "hear the room".
These are quite opposites if ya ask me.

That album in particular puts a lot of emphasis on the mid to low end of the spectrum.
What I think you might perceive as "dynamic" is a pretty compressed series of sound with a relatively dynamic sounding drum set.
The guitars are distorted and compressed as ****, the voice is pretty damn compressed, the bass is pretty compressed as well...
And the wideness you might be hearing may come from the radically different sounds of the guitars over the two channels - the one on the left is hella clearer, and it has more highs.

In general, to get a sound similar to a "live in the studio sound" you gotta apply little processing, keep the majority of the processors more or less the same over all channels, and add reverb/delay in a way that makes sense in a live environment - you don't add one reverb for each channel, nor for each bus - you add (maybe) a (little) reverb on the master bus and maybe over the tracks that need one for an obvious effect - say a synth you're using to create a background sound.
And in that case you also use a reverb that doesn't sound anything like the one simulating the room ambience.

As for the "warm and boomy" sound, use a multi band compressor and mostly compress the low frequencies to obtain that effect.
That way your sounds are warm in any case since the low end's always there, and the transient are more or less kept because of the more dynamic mid high and high end.

Mind though that you might wanna do the thing differently:
that record is not much dynamics, the voice is muddy 'cause they didn't feel like keeping much high end and they boosted the lower end instead, and there is waaay too little high frequency material if ya ask me.

You can obtain an effect like that but you can do it better.
So please if ya gotta do it, do it more dynamic and more balanced with the frequencies.
Name's Luca.

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Thanks for the response. I think I got my terms confused, when I said 'dry' I didn't mean it in terms of 'wet and dry' effects processing, I meant it as a description of the timbre. I probably should have said 'raw' or something else.

I'll play around with a multiband compressor. Thankyou for the advice!