The album version has some very peaky
EQ on the intsruments. The snare is very dark and has slap echo.
If you listen to one channel at a time, you can hear faders being moved
to emphasize certain parts, especially the rhythm guitar.
(2march): The last of a very few takes,
this rough mix done on PT was from the same evenng. The energy is
great and there's more than enough fidelity, a bit too much perhaps
compared to the tones of the original.
MICS & pres: kick
(421, 002), snare (mod-57 12"oh, pultec), bass (sm-58, LA-3), lead gtr
(609 reversed,002), rhy gtr (re-20, xfrmr dbx163), keys (di).
Remix): Same performance as above, but after comparing
the original with our "best" take and rough mix, I attempted to emulate
the production values of their mix in my office, using Adobe Audition.
A few lead guitar bits, from two previous takes were "imported" into this
version. BTW, Jess sang and played drums at the same time.
The panning makes this more obvious - especially when I got a little carried
away and muted the vox track when he wasn't singing.
The above three
tracks, were the last to be recorded 9 march '07, a rather long evening
of hashing out subtleties. The goal was to more faithfully reproduce
the tones and the dynamics of the mix via performance so that less work
would be required during the mixing stage.
Nathan's solid-state peavey
guitar amp (a stereo chorus 210) tends to be a bit edgy. The previous
week the Sennheiser 609 was reversed so its "dark" side faced the speaker.
this week, an inductor was installed between the woofer and tweeter to
roll off the grit. (One less thing to do during mix down.)
David Hedding's amp settings
were more conservative - we kept inching up the overdrive with each take,
and used a 6V6 instead of a 6L6 on this Groove Tubes "champ-style" amplifier.
Next time we will try a 6BQ5.