Sweet, thanks for listening!
@AllanD & Demichris: Yes this was the Soldano reamp. Eddy Apolonia (the guy with the insane studio here) did the guitar reamps (apart from the main bass, which I did). The rhythms are Jackson USA Rhoads /w JB > Tubescreamer > SLO100 > Mesa Oversize. The leads are some Ibanez into... if I recall, Eddy said his Custom Audio head, which then went into a Bogner cab. It was hard to make the Soldano work on the faster stuff. They're rock amps, as you guys know, so they tend to squish and mud out under chugging. I think it gives the record a unique flavor though - you don't normally find an amp like that used on music like this.
@joel: I mixed this two weeks ago, yet go figure I actually forgot what I did with the snare. I don't think it differs much from my usual thing. It would be a combination of a fair amount of the raw snare (Black Beauty), along with a few Slates. I think I would have used Slate Snare and possibly Dan snare on this one.... the low, fat ones. Then mixed that up with some other misc. samples I have on hand, and also used SD2.0 but ONLY FOR THE ROOM this time... which was interesting, but worked out exactly as I intended! I used the Rogers Wood to key the room sounds, and create a really high 'kah!' type reverb wash, and mixed that in with the much lower direct snares. Other than that, this was the first project I used Duende on, so all my usual SSL channel instances were replaced with it. Finally, I hit the resulting frankensnare with the DBX160, which gives it the crazy snap.
@Chris: Well you worked on the Ibanez, so you know what sort of tone that pickup produces. Mix that with older strings, and there you have the resulting lead/solo tone. Aaron has a great wah pedal though, and the solos run through it tend to get a nice tone quality boost, so it's not all like this one. I think this song in particular seemed to be negatively affected the most by the guitar/strings. The others are mostly okay!
@Allan: Not necessarily. In some cases like the Orpheus and Untruth records I did want the bass dominant, but in this case not so much. On my mixes of this record the kick punches through enough. It's one of those things that can sometimes get lost in mastering, with the loss of headroom. Then again, listening to it here, the kick doesn't seem that lost for music this fast. How low does your playback system reproduce? The kick punch is fairly low, so it likely won't seem as strong on a more bandwidth-limited speaker system.
