Sean in Silence
Member
New pics of Joel's sig model
I was definitely at that concert!
hahaha
if the camera was pointing maybe 10 feet to the left you would see me!
hahaha
KILLSWITCH ENGAGE
- Thread starter Brett - K A L I S I A
- Start date
I was definitely at that concert!
hahaha
if the camera was pointing maybe 10 feet to the left you would see me!
hahaha
16S
all gods fail...
To me it sounds like there is alot of 5150 on the new record. BTW don't get the special ed. for the DVD: its very shit: i was hoping for studio footage :-(((
From Guitar World 10/2009 issue:
GW: What were your main guitars and amps for the album?
J.S: I used a Caparison TAT guitar. They're a small Japanese company. Their guitars have hardware similar to what you find on a Gibson, but the TAT is more like a Jackson Soloist in that the neck is kind of thin, like the old USA Soloists. I used a TAT with EMG pickups.
A.D: And I used my Parker Fly, which has an EMG-81 and an EMG-85 pickup.
J.S: We used a bunch of different amps. The main rhythm tracks were played with a Diezel through a Boogie 4x12 with Celestion Vintage 30s. For most of the dirty overdub stuff we each had a Splawn Nitro that we played through the same cab.
A.D: Spawn is a small, boutique amp maker in North Carolina. Scott Splawn is an Eighties guy who's doing his versions of Marshalls. It's kind of like hot-rodded Marshalls. That's right up my alley. A really high-gain 800 is one of my favorite heads.
GW: How did you get turned on to Splawn amps?
A.D: Joel heard about them through the grapevine, and then he actually got one to try out. When I heard it, I said, "That's incredible!"
GW: What other amps did you use?
J.S: For the clean tones we used a mixture of things. We had an old, Seventies Fender Vibrolux with a combination of pedals for tones ranging from clean to slightly dirty. And we used a Fucha Triple Drive, for some clean stuff, and an Orange Tiny Terror.
GW: What effect devices were indispensable to your guitar tones on this album?
J.S: As far as dirty tones, we always have a Maxon OD808 on at all times, just to boost the signal a bit.
A.D: It's kind of the Maxon version of the Tube Screamer. It just sounds a little more bubbly.
J.S: There's also a lot of delay on guitars on this record. We used one of those Maxon vintage analog delays, a big, purple pedal [the AD999]. We also used a Maxon phaser and a Hughes & Kettner Rotosphere in a few spots to get some chorusy tones.
A.D: And we used a real Leslie cabinet on a lot of the guitar parts. That's definitely a cool sound.
.....
GW: How do the two of you divide up the guitar work?
A.D: Normally, the dude who wrote the part is the dude who will play the part.
J.S: Or whoever feels like playing the riff or feels it with the drums a little better will do it. There are not a lot of parts on this record where we're actually playing at the same time. It's kind of either one or the other. We didn't have a lot of time in the studio, so whoever was most comfortable would play a part or an entire song.
GW: Some of the songs, like "The Forgotten" and "Light in a Darkened World," have harmonized lead lines. Who played those?
J.S: I did the leads in those two; Adam played the leads in "Starting Over." It's all divided up differently.
GW: But whoever plays one lead line will also play all the harmony tracks?
J.S: Yeah. That just makes things easier, because we have slightly different vibratos. If you want to get that stuff really tight, it makes more sense to have one person play all the harmonies. But obviously we both have to play them live.
there you go. hope that would answer some of the questions people have.
GW: What were your main guitars and amps for the album?
J.S: I used a Caparison TAT guitar. They're a small Japanese company. Their guitars have hardware similar to what you find on a Gibson, but the TAT is more like a Jackson Soloist in that the neck is kind of thin, like the old USA Soloists. I used a TAT with EMG pickups.
A.D: And I used my Parker Fly, which has an EMG-81 and an EMG-85 pickup.
J.S: We used a bunch of different amps. The main rhythm tracks were played with a Diezel through a Boogie 4x12 with Celestion Vintage 30s. For most of the dirty overdub stuff we each had a Splawn Nitro that we played through the same cab.
A.D: Spawn is a small, boutique amp maker in North Carolina. Scott Splawn is an Eighties guy who's doing his versions of Marshalls. It's kind of like hot-rodded Marshalls. That's right up my alley. A really high-gain 800 is one of my favorite heads.
GW: How did you get turned on to Splawn amps?
A.D: Joel heard about them through the grapevine, and then he actually got one to try out. When I heard it, I said, "That's incredible!"
GW: What other amps did you use?
J.S: For the clean tones we used a mixture of things. We had an old, Seventies Fender Vibrolux with a combination of pedals for tones ranging from clean to slightly dirty. And we used a Fucha Triple Drive, for some clean stuff, and an Orange Tiny Terror.
GW: What effect devices were indispensable to your guitar tones on this album?
J.S: As far as dirty tones, we always have a Maxon OD808 on at all times, just to boost the signal a bit.
A.D: It's kind of the Maxon version of the Tube Screamer. It just sounds a little more bubbly.
J.S: There's also a lot of delay on guitars on this record. We used one of those Maxon vintage analog delays, a big, purple pedal [the AD999]. We also used a Maxon phaser and a Hughes & Kettner Rotosphere in a few spots to get some chorusy tones.
A.D: And we used a real Leslie cabinet on a lot of the guitar parts. That's definitely a cool sound.
.....
GW: How do the two of you divide up the guitar work?
A.D: Normally, the dude who wrote the part is the dude who will play the part.
J.S: Or whoever feels like playing the riff or feels it with the drums a little better will do it. There are not a lot of parts on this record where we're actually playing at the same time. It's kind of either one or the other. We didn't have a lot of time in the studio, so whoever was most comfortable would play a part or an entire song.
GW: Some of the songs, like "The Forgotten" and "Light in a Darkened World," have harmonized lead lines. Who played those?
J.S: I did the leads in those two; Adam played the leads in "Starting Over." It's all divided up differently.
GW: But whoever plays one lead line will also play all the harmony tracks?
J.S: Yeah. That just makes things easier, because we have slightly different vibratos. If you want to get that stuff really tight, it makes more sense to have one person play all the harmonies. But obviously we both have to play them live.
there you go. hope that would answer some of the questions people have.
MetalJonesy
more metal, more booze!!!
2000ContourSVT
Member
And to add some more details to this, I read in another magazine(not sure which one) that the Boogie cab was a Stiletto 4x12 loaded with 4 vintage 30's, mic'ed with an SM57 about 6 inches away from the cab, slightly off-axis. The Diezel was a VH4.
Chryst Krispies
Vanilla Gorilla
I know this is old news at this point, but the cymbal separation on The End of Heartache is fucking phenomenal...especially the title track. It's like being in the room or something.
How the?
How the?
ahjteam
Anssi Tenhunen
Really wide panning, automation and good micing (Andy mics the cymbals in pairs of two). There's similiar effect on the Pantera albums; the cymbals come really loud from one side and just barely bleed to the other side.
Chryst Krispies
Vanilla Gorilla
plague_rider
Coffee
Are there any KSE-6-inch impulses flying about??
Saw these guys last night and they used the Fender Vibroluxes live… though i'm sure i spotted a mesa head on side stage…
think it was to add to the comedy of them coming out in the tux tshirts to the benny hill sound track
Saw these guys last night and they used the Fender Vibroluxes live… though i'm sure i spotted a mesa head on side stage…
think it was to add to the comedy of them coming out in the tux tshirts to the benny hill sound track
K Odell
\=/Varnisher\=/
They use the Fenders for cleans and as far as I know Splawn Nitros and Fuchs Vipers for their rythmns and jank. They change so much though that I am probably way off.
Ermz
¯\(°_o)/¯
Sorry to bring this up, but was it ever CONFIRMED what the guys used for rhythm guitars on 'The End of Heartache'? It seems whenever I read something it contradicts what the person before it said.
Andy Sneap
Metal Guru
from what I remember he didnt use a whole shit load of cymbals and adam just mic'd them pretty close. Killswitch is so easy to mix, the pace, they way its played etc.
K Odell
\=/Varnisher\=/
dfer
Member
- Mar 1, 2009
- 90
- 0
- 6
Does anyone know what cabs versions were used on The End Of Heartache? As i read that they used a 4 x 12 Mesa + VHT Cabs but it never mentioned if it was the Oversized / standard mesa recto or the Fatbottom / Deliverance VHT Cabs?
Mattayus
Sir Groove-A-Lot
Heya.
On The End Of Heartache, the Dragon and the Cobra was connected to a Mesa/Boogie Stiletto 4x12, while the 5150 was connected to a VHT Fatbottom 4x12. In addition to the SM57, an AKG C3000 B was used as well.
-Cody
Mattayus
Sir Groove-A-Lot
Yeah sure man, thanks! Some of the Slate ones are pretty damn similar, I must say.
