+ Jens Bogren. Best drum sounds in metal for me.
Stabbing The Drama, The Great Cold Distance and Watershed all speak for themselves.
Umm...I'm pretty sure Daniel Bergstrand did Stabbing The Drama...its got the weird (but awesome) Bergstrand snare sound...he also did the Scarve stuff (with Soilwork's drummer) which has an almost identical drumsound. Unfortunately there are no credits for Stabbing The Drama on allmusic.com, but I'm almost 100% it was Bergstrand and not Bogren...both are fucking amazing mixers though.
I mean of the two I would have to say Bergstrand...he has a really unique sound, his records don't all sound the same...and Behemoth's Demigod, anyone?
Im really digging Zuess's work lately. The new Ion Dissonance, Acacia Strain, and Whitechapel CD's sound amazing.
Jens Bogren absolutely - not only his drum sounds, but he produces by far my favorite guitar tones of all time, such perfect warmth and crunch - THAT'S the tone I want, not some scooped Recto-cab chugginess.
Actually, I don't think Jens did much on that one except for some "additional engineering." IIRC he didn't care for the mix much. Also, for the record Jens loves rectos and greatly prefers them to pv stuff.Both is correct.
Stabbing the Drama was recorded and mixed @ Fascination Studios.
Drums @ Dug-Out but overall it was mixed by Bergstrand AND Bogren together. True for that bergstrand-snare but you can hear the Fascination Studio sound on it pretty clearly I believe, mostly because of it's overall ambience.
Yeah, didn't mean it to sound aggressive either, just that he is quite outspoken and about his mesa preferences (and most other things). I'm lucky to have had conversations w/ him so I thought I'd share that info.Don't know if you were referring to me or not Egan, but I said "recto-cab," not "recto" - I love the amps, and the cabs sound great if that's the tone you're after, but it's not the kind of tone that I would want. And I had forgotten that he mixed your guys' last two albums; amazing how he still gets his trademark crunch from guitar tracks he had (I assume) no input on the recording of; I wonder what it is that he does that gets that organic sound I love so much? Cuz IMO, the sounds on "Dismantling Devotion," (less so "Lost..." cuz you used a Recto cab), "Ghost Reveries," and "The Great Cold Distance" (the big 3 of his that I love that come to mind) all have that wonderful crunch, yet I'm sure there were pretty vastly different signal chains involved in their tracking.