Thanks for the feedback! Heres the lowdown as far as recording and production...
Recorded live through two ensembles, with Wunder PAFour pres on Kick, Snr, and OHs, API 3124 on toms, and the remaining ensemble pres on various room and spot mics.
Kick in - D6
FOK - Bock 195
Snr Top - i7
Snr BTM - 57
OH - ATM 450s
Toms - Sennheiser e904s
Ride and hats - NT5s
We also had two 4050s used for ambience, one aimed at the oven in the adjoining kitchen, and the other set inside a ventilation duct for some tinny slapback stuff, fun fun!
All electric gtrs were tracked with a 57 and an i7 on a Mesa Cab w/ Vintage 30s through the PAFour w/ ensemble conversion. We had a Mesa dual rec, Rivera Knucklehead reverb, and a Peavey JSX handling the amp duties. As far as guitars, we did alot of triple and quad (and sometimes more lol!!) tracking with a bunch of various guitars, including a Gibson Les Paul Studio, Fender Jaguar, and some various Schecter and Ibanez axes in there too.
We used a sansamp stompbox to split the signal from a mid-level Ibanez bass (dont know the model) to a di and an Ampeg SVT 5 head into an Ampeg 6x10 cab. The PAFour was a bit too bottom heavy so I used the ensemble pres for bass, but I did insert a Portico 5043 (purchased halfway through the project for bass and vox) on the way in.
I was fortunate enough to have a friend let me borrow his vintage U87, which got the most use for vox tracking, through the PAFour pres and 5043 comp, using both sides of the comp in series to really gain control over the levels. However, we did rely on an SM7 for some of the heavier vox, as well as a 4050 for some BGVs and some trusty 58s for screaming duties.
The album was mixed completely ITB, utilizing mainly URS Channel Strip Pro for channel compression and eq. I also utilized Cytomic's The Glue buss compressor, which REALLY helped spank everything together. The logic eq also got some good use for more surgical eq duties, and all delays and verbs were stock logic plugs. I was hoping to not use any sample enhancement because of the original quality of the drum tracks, but after trying it on one track I was hooked! I ended up using Steven Slate 2.0 samples (via ApTrigga) at about 30-40% in parallel with the real, processed drums. The sample enhancement really helped make everything pop, and I can see why everybody in the rock scene is so into it.
Well I think that covers everything lol!