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

The only thing shitty about BWP in my opinion, is the cut and paste job they did in drapery falls. Listen to the heavy section after the lyrics 'pull me down again and guide me into ... ' and mike just starts singing ahhh over the riff. The riff is repeated four times and it sounds so jerky every time it starts over, cut and paste i swear.
 
Well, Fear Factory's Demanufacture came out in '95 and it's still one of the best productions I've heard in metal.

Totally agree.

Same goes for the black album, and that came out in 1991. Vulgar Display and Far Beyond Driven were 92/93... Both still sound great. Burn My Eyes was 1994 too...

'Yes' were doing some amazingly produced stuff as far back as '83 (ok, it's not metal as such but still). listen to anything from '90125'.

I think "back in the day" would refer more to opeth being relatively new and inexperienced, with a lesser budget (compared to the position that they are in now), rather than 1997 being a long time ago.

Andy was already making incredible sounding records back then. IIRC, Pissing Razors, Skinlab and Napalm Death ('inside the torn apart') were all done around 1997/98.
 
Totally agree.

Same goes for the black album, and that came out in 1991. Vulgar Display and Far Beyond Driven were 92/93... Both still sound great. Burn My Eyes was 1994 too...

'Yes' were doing some amazingly produced stuff as far back as '83 (ok, it's not metal as such but still). listen to anything from '90125'.

I think "back in the day" would refer more to opeth being relatively new and inexperienced, with a lesser budget (compared to the position that they are in now), rather than 1997 being a long time ago.

Andy was already making incredible sounding records back then. IIRC, Pissing Razors, Skinlab and Napalm Death ('inside the torn apart') were all done around 1997/98.

Also Carcass' Heartwork, to this day I can't really believe that record is from '93. Fuckers got a time machine I swear.
 
Also Carcass' Heartwork, to this day I can't really believe that record is from '93. Fuckers got a time machine I swear.

haha, I originally put that in... but figured that the beauty of that mix comes from the pure crushing guitar tone, there's nothing amazingy special about the drums or bass which is why I left it out. I still love the overall production on it though, but it is mostly due to the brutal guitars. The others that I mentioned have all elements of the mix sounding great.

That album took over from and justice for all in terms of it being pretty much THE benchmark of modern heavy guitar tone that (a lot of) people aim for.
 
Well, at least the bassdrum scores big time in my book... and the mix in general has this "fatness" and wide imaging that I normally associate with more modern recordings. That's why I said time machine.

Just thought of another, Dream Theater's Awake (1994). Much better drum sound than on Scenes from a Memory IMO (don't know about their newer albums, I had lost interest then already).
 
In the song Dirge for November in the beginning (where you can hear the vocals pretty clear) at 0:06min on "..where", he 'warbles' a little.

I just think it's the notes he struggles with when sustaining, not really an autotune problem...although it does kinda sound like an autotune edit. :err:
 
IIRC, that was from an interview in Guitar World right around the time Deliverance came out, if anyone wants to find the exact quote.

I can only imagine how un-saturated the actual tone they recorded with is, because the palm mutes don't sound "right" at all, and no amount of layering is going to change how the amp actually reacts. While I'm partial to less saturated tones in general, I don't think Mikael's "Jeff Beck tone" description could be too far from the mark there! I do like the thickness of the guitars as a whole, but a chunkier tone would have been more appropriate for that style.

I'll have to go back and listen for the Autotune thing...

The booklet for my copy of BWP says "Engineered by Opeth, Steven Wilson and Fredrik Nordstrom".


I have that issue of Guitar world you are referring to. Mikael basically said that they quad-tracked the guitars, (2 from peter and 2 from mike) with the gain on maybe, 2 or 3, so when they combined the 4 tracks the combined it sounded rather hi-gain, but there was still some clarity because they were recorded with lo-gain settings. I've tried the technique before and it actually does make a difference, you just need to be tight as hell when you do the rhythms
 
In the song Dirge for November in the beginning (where you can hear the vocals pretty clear) at 0:06min on "..where", he 'warbles' a little.

I just think it's the notes he struggles with when sustaining, not really an autotune problem...although it does kinda sound like an autotune edit. :err:

I'm glad I'm not the only one hearing this! And I'm noticing it on Damnation too now that I'm listening again, so yeah, I guess that's just how he used to sing (better now thank god)