Haha, good call on the ride. I disliked the sound of it in the room on the day, and I'm still not thrilled every time I hear it on the record. As you know there's very little that can be done about cymbals after they're tracked, so it is what it is! If you want to hear a sick ride sound check out Elm Street's 'Barbed Wire Metal'. We finished that one up 2 or 3 months ago. It's still clicky, but awesome - sounds like someone fencing in the right speaker.
@Revson: What else did you want to know about?
@Internity: I can't remember exactly but the core of the grit came from my PSA-1 and the Dunlop MXR. I think I ran the MXR into Softube's Bass Amp room to round off the distortion with a cabinet/mic simulation. The PSA-1 was run straight. Standard sort of filtering stuff with the DI and the grit, breaking them up into their respective frequency zones, then recombined them and processed it all together. The analogue stuff would've helped round it all off. I started by using Nebula's CLC, as always, then ran it through my Millennia, 1176 Rev D and Distressor. That was for the bulk of the compression and EQ. C4 and L1 were used for more squeezing, probably eQuality somewhere for fine notching/balancing of the low-end, and I might just have used a CurveEQ impulse from the Come Clarity bass to get the low-end gelling in a similar way. I was really digging that vibe for this record, so thought why not. It can also help with the top-end since Come Clarity was done with a real cab/mic rig, and I had to use a digital one. Sometimes the high-mids can get a bit static and abrasive, so the EQ matching can help out a little.
@fatalforce: Really cool to hear that. Glad you like it.
It's funny, Chris, I was going to respond to your post above by saying if we had to do it all over again... stylistically I probably wouldn't change a thing. Sure I wouldn't mind some higher quality starting points in regards to the drums and guitars, but beyond that, I think the approach was, for me, ideal for the music. Was going to remark that all I'd look to do for the coming record is 'improve' on what we've already started. But that SMS you sent kinda took the wind out of that idea's sails, haha.
All in all the thing I'm most proud of with this record is how unique and iconic it sounds (to me anyway). I think we really established an aesthetic identity for the band with it, which is really important when you're duking it out in a genre that's been around so long, and covered so thoroughly.
To cap it off, here's my favourite song from the record:
[ame]http://www.youtube.com/watch?v=LSoZHtxd6Oo&feature=related[/ame]
@Revson: What else did you want to know about?
@Internity: I can't remember exactly but the core of the grit came from my PSA-1 and the Dunlop MXR. I think I ran the MXR into Softube's Bass Amp room to round off the distortion with a cabinet/mic simulation. The PSA-1 was run straight. Standard sort of filtering stuff with the DI and the grit, breaking them up into their respective frequency zones, then recombined them and processed it all together. The analogue stuff would've helped round it all off. I started by using Nebula's CLC, as always, then ran it through my Millennia, 1176 Rev D and Distressor. That was for the bulk of the compression and EQ. C4 and L1 were used for more squeezing, probably eQuality somewhere for fine notching/balancing of the low-end, and I might just have used a CurveEQ impulse from the Come Clarity bass to get the low-end gelling in a similar way. I was really digging that vibe for this record, so thought why not. It can also help with the top-end since Come Clarity was done with a real cab/mic rig, and I had to use a digital one. Sometimes the high-mids can get a bit static and abrasive, so the EQ matching can help out a little.
@fatalforce: Really cool to hear that. Glad you like it.
It's funny, Chris, I was going to respond to your post above by saying if we had to do it all over again... stylistically I probably wouldn't change a thing. Sure I wouldn't mind some higher quality starting points in regards to the drums and guitars, but beyond that, I think the approach was, for me, ideal for the music. Was going to remark that all I'd look to do for the coming record is 'improve' on what we've already started. But that SMS you sent kinda took the wind out of that idea's sails, haha.
All in all the thing I'm most proud of with this record is how unique and iconic it sounds (to me anyway). I think we really established an aesthetic identity for the band with it, which is really important when you're duking it out in a genre that's been around so long, and covered so thoroughly.
To cap it off, here's my favourite song from the record:
[ame]http://www.youtube.com/watch?v=LSoZHtxd6Oo&feature=related[/ame]
