Listening to Blackwater Park for the first time in awhile...

I have always loved Blackwater Park. I always wondered how they got such a distinct tone. Layering ftw. I will have to go back and listen for the autotune.
 
I personally love the guitar sound on that album. It's low-gained and layered perfectly in my opinion. Opeth doesn't really need a tight as balls palm-muting sound in my opinion. I also like the tone on BWP MUCH more than "Deliverance." I also love his vocals on the record. I never noticed any auto-tuning on it either. Then again, I was never really looking for it.

-Joe
 
Mick-ale Awe-ker-felt

Å = Aw

the Å-letter is like a swedish "O", so it's actually like O-Ker-Felt. But don't say the "O" like americans/british pronounce it "Ou", just say "O". Really hard to explain, and probably doesn't make any sense :lol:

But on the topic, I really like the production on Blackwater Park, I don't find the lack of much saturation a big problem, but that's just matter of taste. I really dig the vocals too, and don't really notice any Autotune warblyness, but I'm not saying that they didn't use any. I remember in the Lamentations-documentary when Steven and Mikael were tracking vocals, Steven says after one of Mikaels takes that "it's good, just needs a little tuning" or something like that. And because Steven also worked with them on Blackwater, maybe they used some there aswell.

Like Moonlapse said, the drums could use some work, the snare is great but sometimes gets a bit buried in the mix.
 
I really dig the vocals too, and don't really notice any Autotune warblyness, but I'm not saying that they didn't use any.

Check out the first vocal lines in The Drapery Falls, it's hilarious - the vocal endings sound like a synthesizer :lol:

@ 2:32
"..all you seeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeei"

@ 3:24
"..haunted sleeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeep"
 
The vocals do sound a bit odd here and there if you concentrate too heavily on it, but overall I think they sound fantastic.

And I also think the guitar tone is absolutely perfect for this record, I think more saturation would have ruined it.

Just an opinion of course.
 
Well lotsa people are comparing the BWP tone to Deliverance, which I also am not a fan of (the tone worked for "Dead Heart," not so much for Opeth IMO). But come on, Ghost Reveries? That album has my favorite guitar tone OF ALL MOTHERFUCKING TIME, and to me it's a million billion trillion times better than the BWP tone. And yeah, the drums on BWP aren't great, but I don't think they're as bad as, say, "My Arms..." And make no mistake, I still love the music (but once again, not as much as Ghost Reveries, which is actually my overall favorite Opeth album).
 
BLASPHEMER!
My Arms, Your Hearse has fucking amazing drum production i_i
 
BLASPHEMER!
My Arms, Your Hearse has fucking amazing drum production i_i

Word. Its important to keep the sound of the album in context with the time it was recorded. By today's standards the drums probably would not pass, but back in the day.......

Opeth is one of those bands that is so good that I find it hard to critique anything relating to their sound. They could be playing through a Fender M80 and I would not care because I get lost in their music.
 
Word. Its important to keep the sound of the album in context with the time it was recorded. By today's standards the drums probably would not pass, but back in the day.......

Dude, come on, I'm 21, and even I can say that 1997 is not "back in the day," and certainly doesn't justify the horrible "gahng" of that snare IMO! I should clarify that it's only the snare (and toms somewhat, they sound kinda thin to me) that pisses me off; listen to when it comes in during "Karma" (the "you have nothing more to give" part), uggghhh, such an ugly ringing to my ears, and there's something weird going on with the attack too, it sounds very lo-fi in general to me. Kicks are acceptable, though, nothing too stellar, but nothing terrible either IMO.
 
Dude, come on, I'm 21, and even I can say that 1997 is not "back in the day," and certainly doesn't justify the horrible "gahng" of that snare IMO! I should clarify that it's only the snare (and toms somewhat, they sound kinda thin to me) that pisses me off; listen to when it comes in during "Karma" (the "you have nothing more to give" part), uggghhh, such an ugly ringing to my ears, and there's something weird going on with the attack too, it sounds very lo-fi in general to me. Kicks are acceptable, though, nothing too stellar, but nothing terrible either IMO.

Its just an album. Of all the things in the world to be pissed off at, this ranks pretty low on my list. I doubt there will be a mass consensus that the snare sound you're talking about is that bad. That's a fantastic Opeth album and I'm grateful to be able to listen to it.
 
Yes yes, of course you're right, and it's not like I wake up clawing at my pillow in rage thinking of how that snare has wronged me, I just engage in hyperbole to make a point, and I'm not saying anything about the music! And surely you can relate to something in a production bothering you - in fact, I know you can, cuz you mentioned it before! So I certainly don't wanna offend or insult something near and dear to people's hearts, I just enjoy debating and discussing these things.
 
Metal-Rules.com said:
Did working with Steven Wilson add a lot to the record? Since I’m really only familiar with the last two albums, I can hear a distinct difference between the two.

Well Steven Wilson is a big idol of ours both as a producer and with his band Porcupine Tree, I’ve been listening to them for a pretty long time now. To work together with him made us maximize our performance because we really wanted to impress him. He’d never produced a Metal band before and it was a big experience for him, so I think he was a bit nervous as well. He produced all the vocals and lead guitars with us. He also helped out writing vocal harmonies and stuff like that, we also used him because we knew he was very good with sound. We’d never really experimented a lot with sound for the guitars, but we knew what he was capable of. Every idea we had we asked him if he could do it and he fixed everything as well as coming in with some weird ideas himself, which we liked and ended up using.

http://www.metal-rules.com/interviews/Opeth.htm