Thanks, Tom. I certainly appreciate the kind words. I rediscovered that record a year ago and freaked out, contacting the band... they all love that record too. We had a fantastic time making it and they're great people. We mostly recorded that record in a big log cabin converted to a studio outside of Franklin, TN. I think it's a post production facility now. You could see Hank Williams Sr.'s old white mansion across the field. I remember when I'd cut drums, there was a huge pond down the hill filled with Canadian geese, and I'd leave the window open. If you solo the room mics, you can quietly hear some ridiculous honking.
j.d. - I haven't run the gamet of all the Neve clones being made. I used some Vintechs on the Deftones several summers ago and thought they sounded good, although (and I find this with every Neve 1073
clone) they just don't sound as deep... not as rich in the low end. I will rent 1073's from Design FX here in Los Angeles, and often have the good fortune to work with Joe Chiccarelli who has the gear rack of doom... the nicest 1073's I've heard. In my studio we're currently using the BAE for vocals and the Chandler LTD-1 for a multitude of things. By the way, and this is a different animal, the Avedis mic pre's from Brent Averill's shop are gorgeous and huge sounding, and VERY cost effective. I have 11 of 'em. Again, I don't work for Brent Averill!
Darksky - I'd like to blend the tape emulation in or out, rather than just have the "engage tape" button in or out. The saturation knob isn't what I'm talking about. If you have the saturation knob all the way down, to the left, you still hear tons of tape emulation. We've found that every so often the tape emulation is too much of a color change and it would be brilliant to have control over the amount of "tape-osity".