wow this is really really strange when I see something like this.
Being the one who recorded the original of this(albeit it was like 2007) I can do my best to explain most of what I did on it to give you best shot at getting this right:
This band only had 5 days in the studio. They were unsigned when i recorded this so it was important we get it done super quick. It's due to this that i remember using extremely simply signal path on this thing.
Drums:
Kick- I think it would surprise most people to know that there's zero triggering on the kick in this record. This was pretty key too to getting the punch we got. It's just a single audix D6 through a chameleon labs channel strip into a dbx160. There's like some "Rbass" on it and a bit of digital eq/comp on it. I miiiight be mistaken on this but i remember that he just simply hit hard enough that this worked for like 98% of the hits and i just replaced the few that weren't hard enough with others. The way it should always be I say.
Snare- My normal setup of Beta 57 through my trident S40/dbx160 was used though I did end up using a good bit of snare triggering on this to emulate the drummer hitting harder on spots. It was important to have the natural snare tone be good enough though since it's used on a good portion. I remember that I only used 100% trigger and 0% trigger on this record because there was really no point in the in between and the sample set I made was multi-sampled anyway to not sound fake.
Toms- Sooooo long ago can't remember but I'm willing to bet I used sennheiser e604 and e904 mics.
Overheads- I can't remember if i used my neumann km184s or my akg451s but it was one of the two and just a pair of overheads was used, no hihat or ride or anything mics. Either way used chandler tg2 pres and distressors for compression.
Rooms-Likely used my akg414 and audio technica AT4047 for rooms. I drove them hard on a tube preamp and then crushed them with the URS1980 comp i believe(since that's how i did things in those days)
GUITARS:
Peavey 5150II into Marshall 1960a cab. Pretty sure that was the entire guitar setup. Recorded with a single sm57 through my chandler tg2 and used a slightly 2:1 comp. NO room mics or additional mics used. not even a DI. Like I said, was keeping this simple and quick
BASS:
No idea what bass amp was used but we did use one. The bass sound is a mixture of cab miced with a akg D112 most likely and a direct line processed with a sansamp bass driver. Those are then phase aligned and mixed. After that there's probably a little eq and from what I remember PSP vintage warmer is probably on this track.
VOCALS:
Recorded on my AKG414XLS through the chandler into the distressor(6:1 driven pretty hard). There's no processing other than a little reverb on these. I wish like crazy i owned my neumann m149 back then because it would have sounded worlds better but so would a lot of things on this recording if i could redo it now.
mix/MASTERING:
There was a lot of back and forth with the label on the mastering/mixing of this record after they signed. There's an "original" version of this mix that's a good bit quieter and has a 100% natural snare tone. Mediaskare has always tended to like that I get the masters as hot as possible and he wanted the snare to sound much more huge. I did some sort of crazy magic tricks on both that I can't entirely remember but the final stage of mastering on this was without a doubt done with the TC Powercore plug MD3.
Hope that was somehow insightful.
-Zack
p.s. The song "shiner" was actually recorded like 6 months later by my partner at my studio and then I tossed in the "exact" same mix settings but if you listen carefully it's pretty obvious that there's like different guitar tones, bass sound, and drum heads. I was surprised i could get it so close.
