So on Hysteria we decided to do all the guitars first before we put the bass down. Трендовая цена: Nowadays, changing the arrangement of a song is a lot easier to do using Pro Tools. All I can remember is the last mix took me and Mutt straight through the night into the morning and I had to catch a flight within hours to cut the second side of the album in New York. Representative example. Have one to sell?
No one in the music business was recording the drums last. But there was a real method to the madness. It allowed Mutt and the band to explore new ideas freely. On the Hysteria album Mutt was changing and adding things even at the final mix stage.
It was just Phil Nicholas and me messing around with samples on the Fairlight, for an extended version of the song. On Hysteria, the drums were always going to be recorded last. On Pyromania they put the bass down first on all the songs. This would often take all day. This would change the tension of the bass strings and therefore the tuning of the bass.
The end result was the guitars had to be tuned slightly differently between choruses, verses, and bridges on different songs on Pyromania. It was a nightmare. So on Hysteria we decided to do all the guitars first before we put the bass down. The problem now was we were recording guitar parts to no drums or bass, just a click track to keep us in time. It was very hard to envision what the dynamics and the final sound was going to be like without bass and drums. On Pyromania the guitar sounds were recorded using a Marshall watt amp.
But they went through a ton of guitar amps and a whole lot of time before they found the right one. Eventually I think the amp blew up.
Other times we would us a Rockman, made by Tom Scholz. The Rock Box had similar settings to the Rockman: The difference was you could turn off the chorus and effects on the Rock Box allowing you to use your own effects. So the plan was we were pretty much going to use either the Rockman, or Rock Box for everything guitar wise. Sometimes I would blend a Roland studio flanger in to beef some of the power chord sounds. But this is where Mutt taught the band and me that music production is about the song and arrangement first, then performance, followed lastly by the sound.
If the song and the arrangement is great, and the performance is great, then the sound quite often takes care of itself.
We were recording the guitar verse jangle for the song, Hysteria. Sav was playing the part and the problem we were having was the Rock Box clean sound was so compressed you could hear every finger fret movement almost louder than the guitar sound itself. We liked the sound of the jangle but there was no way we could allow this scratching fret noise between chord changes to be part of the recorded sound.
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