Love wall of sound, noise, and disorientating types of approaches!
1 of the big things to keep in mind that you may already do is to use sends, either automation of the level of each send, ride the fader if using a console, and always make sure you’re doing gain staging of elements/sources. As it is UBER important to remember to not overload the master bus with amplitude levels created by the artifacts created at each stage of post-processing a source. In other words, each time we layer a new effect over a source be mindful of the amplitude gain created to not allow the source to be replicated over -.9 dB. Some people like to use limiters to get this controlled, but if you make sure that you keep the sound at say -6dB, and then you’re total summed value of all sources peak at -.9dB at the master bus, you’ll have a powerful overall sound.
Another thing I’ve been having fun with that I somewhat stoled from a few other producers is this method when working with modules/fx pedals/analog gear/and in digital:
Send source through a channel, create sends with fx/etc.
Send all sources to another channel, and then send this channel to a multi-banded processor…
The processor should have some sort of upward compression, we want to slam the sound into the compression so it is loud in the compressor, but it squashes the sound.
Send all of the sounds to a tape, have the tape be doing a bit of biasing, then send the tape to a limiter that it with a high gain stage, but also at a -2dB output (could vary if you want it to be REALLY loud maybe at -.9dB) .
Send this Through to a channel and set the gain either at max, or if the sound already has a lot of artifacts or washed-out sounds that you are happy with, add a clipper to taste to get the top end to sizzle, use a limiter on this send to control the whole sound.
Sometimes this method gives me/us an insane amount of “artifacts” to play with, which can be later sent through granulizers or spectral fx or guitar pedals to further alter… some people like to chop this stuff up and layer it for tunes, some like to just use it in noise shows, and then whale on a guitar over the top of it…the worlds your oyster I suppose…
ON the matter of equalization:
For me in regards to equalization it comes down to getting all sources down, and sounding the way we want… ie being creative, before being all technical!!!
It’s often harder to separate the 2 when you’re doing all of it, versus someone who is an artist and has engineers to do the engineering!
Take a few days to just be creative, and decide which days you’ll put on your engineer hat. This will allow you to come back to an idea/sound/whatever and determine what needs to be processed in what way after being creative.
Equalization should be considered in the basic formula: Do we need to subtract from our source to carve out frequencies that create fatigue? Are some dynamics peaking and creating a harsh tone?
After subtracting, do we need to consider the phase of our equalization, and how we didn’t already consider our instrumentation/sources in the arrangement/composition while writing the song? Then we may need to do some notching, or filtering (lowpass/highpass/bandpass) to allow other sources spaces to breathe.
Are any further subtractions needed? No ok now let’s boost the fundamental of the sources slightly.
Finally, do we need to do any dynamic equalizing of any source? I’ve always enjoyed replicating the funky worm sound on my moogs, and trying to control the harsh upper/mid frequencies can be a pain to deal with! But with modern equalizers, it’s a breeze! Fabfilters Pro Q3 is great for this sort of thing, will just include this link instead of ranting on about it, but will say: dynamic equalization can be a great tool for controlling harsh noise types of stuffs, but should be after being creative, not in the process of being creative! EDIT: It can be used in the creative process as well, but really helps when doing edits…
hope this helps, and if you know everything I’ve said please disregard it!
best of, and be a great day!