Lostprophets - Start Something
trevoire520
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#1
19th July 2011
Old 19th July 2011
  #1
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Lostprophets - Start Something

God where to start? Everything on this record sounds fantastic!

The guitars have a really cool thing going on where they sound absolutely huge, but not overly distorted? What amps were used?

Drums are really good too. Quite dry but nice and punchy. Can you give some details on the kit and what mics were used?

Vocals are probably the best they've sounded on any LP record to date. How did you get those performances from Ian?
#2
22nd July 2011
Old 22nd July 2011
  #2
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I'm also very interested in the production of this album. Thanks for doing this Q/A session!

How about the drum sounds - were they sample replaced or is it all live takes we're hearing?

And also agree the guitars sound great. In fact, everything is very full sounding on this album without any one element being over dominant. Was there a lot of filtering done on the individual channels? Some times it almost sounds like there is a lot of resonant filtering (like moog filtering) on a lot of the elements, there is a lot of meat in the midrange and I was wondering if you used any moog-type filtering to achieve this.

And also how involved does the band themselves like to get in the production/mixing aspect of the record?
#3
14th August 2011
Old 14th August 2011
  #3
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Quote:
Originally Posted by trevoire520 View Post
God where to start? Everything on this record sounds fantastic!

The guitars have a really cool thing going on where they sound absolutely huge, but not overly distorted? What amps were used?
the guitars on the record had to distinct aspects to them. There were 2 sounds that needed to happen. One was a more textural sound and one was a flat out super heavy crushing high gain ryth sound. I felt comfortable taking on the more textural stuff mostly played by Lee. We took a somewhat unique approach. We decided to use all vintage single coiled guitars but with a lot of gain. Lee played most of his parts on a Jazz Master, Tele or Les Paul Jr. through a Soldano SLO100. The problem is the hum. We ended up building a faraday cage. It worked amazing. You could walk the guitar into the cage and hear the hum disappear. Using the single coil guitars gave Lee's parts a certain clarity to the individual notes and a sort of shimmery high end that I thought was cool.

The other half of the equation was the aggressive heavy ryth guitar stuff. I enjoy recording guitar and have been lucky enough to capture some pretty cool sounds over the years, but I am no expert on super heavy high gain aggressive guitar sounds. What do you do when need that? You call Joe Barresi. He is the shaolin master of heavy guitar sounds. I decided to reach to out to Joe and hire him handle that half of the guitar recording. He was set up at another studio (A small home studio with some nice gear that was setup well for overdubs). It was great because he has the skills to be able to get great sounds and performances directly on to an analog master. the arrangements were pretty well mapped out at that point so he was able to march through a bunch of guitar overdubs with Mike while I was doing overdubs with Lee. It worked out great. It saved some time and of course Joe gets amazing guitar sounds. We had rented a variety high gain amps bogner ubershall, diezel, mod'd marshall and had a variety of 4x12 cabs. I don't know exactly what was used for what on the stuff joe recorded.

Quote:
Drums are really good too. Quite dry but nice and punchy. Can you give some details on the kit and what mics were used?
I was trying to do a specific thing on the drums. I wanted the drums to sound dry and in your face almost more like a rap record and have the excitement come from the punch of the sounds instead of the room sound. A lot of the drums were recorded in the iso booth at Barefoot Recording. the drums that were recorded in the large room had baffles setup to ensure the close mics would be really dry sounding. The mixing was a bit unique. I had to separate a lot of the sounds into 2 different parts. Have the high end or midrange part of the sound processed different than the low end part of the sound. It seemed to be the only way I could get the hyper punchy really dry thing to kind of work. I did do the underheads on these drum recordings. So there were no tome mics. I did have to mult the underheads signals so one channel was setup for the over all drum kit sound and one was gated to come on only when the toms were played. That made sure the toms would cut through the mix when he played them

Quote:
Vocals are probably the best they've sounded on any LP record to date. How did you get those performances from Ian?
When spent a lot of time working on vocal parts. Ian was very dedicated to making sure the lyrics and melodies were the very best he could come up with. I always give singers a lot of opportunities to get good performances. Voices are fickle. some days its just not there. i always start doing vocal overdubs early in the overdubbing process. It gives the singer many opportunities to revise parts, revisit songs, fix things, live with performances etc. I try to make sure they don't have to sing more than 2 or 3 hours in each day.

EV
#4
14th August 2011
Old 14th August 2011
  #4
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Quote:
Originally Posted by dullfangs View Post
I'm also very interested in the production of this album. Thanks for doing this Q/A session!

How about the drum sounds - were they sample replaced or is it all live takes we're hearing?
The drums are almost all the live drum kit sounds. I did use some big low-endy kick drum/808/explosion type sounds for down beats of choruses.

Quote:
And also agree the guitars sound great. In fact, everything is very full sounding on this album without any one element being over dominant. Was there a lot of filtering done on the individual channels? Some times it almost sounds like there is a lot of resonant filtering (like moog filtering) on a lot of the elements, there is a lot of meat in the midrange and I was wondering if you used any moog-type filtering to achieve this.
There was a lot filtering going on. I was using a lot of McDSP F2. Great plug in filter because it has a resonance control on it. Moog's have great sounding filters but the mini moog and memory moog (the moog synths I had at the time) only have LP filters. I really like the korg MS20 for synth type filtering. It has HP and LP but it is not always very convenient to pull it out and accomodate the 1/4" ins/outs while mixing. This was the inspiration for the UTA EQ filter section. As far as I know it is the only Class A EQ with a resonance control on both HP and LP filters. I use that a lot now for filter FX and tone shaping.

Quote:
And also how involved does the band themselves like to get in the production/mixing aspect of the record?
I depends on the band. Some like to/have the patience for hanging out while mixing. On the Lostprophets Ian and Lee hung around for mixing. Ian definitely had specific things he wanted to hear as far as vocal fx. I actually enjoy having anyone who cares about the mixes be in the room when mixing is happening. It goes much much faster. I don;t like the modern convention of having to send files to everyone and wait for feedback. It is slow and less personal. When everyone is in the room we make decisions on the fly, we all listen at the end and sign off on it then move on to the next song. On the first Smash Mouth record I was mixing 2 to 3 songs a day. That whole record was recorded and mixed in 3 weeks. Now it takes a month to mix a record.

EV
#5
15th August 2011
Old 15th August 2011
  #5
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Quote:
Originally Posted by ev33 View Post
We ended up building a faraday cage
THAT'S INSANE!!! Could you please describe how you built this?! Any pictures? This is hilariously awesome. I really love how you are not afraid to go to extremes to problem solve like the wall you described building to help increase the kick tone for TBS. That's thinking outside of the box!
#6
15th August 2011
Old 15th August 2011
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Quote:
Originally Posted by SamPura View Post
THAT'S INSANE!!! Could you please describe how you built this?! Any pictures? This is hilariously awesome. I really love how you are not afraid to go to extremes to problem solve like the wall you described building to help increase the kick tone for TBS. That's thinking outside of the box!
i'd love to hear about that too!
#7
15th August 2011
Old 15th August 2011
  #7
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Originally Posted by the reverend View Post
i'd love to hear about that too!
The challenging part of this is that it only works if you create a box with all six sides of a ferrous metal. I used what is called "Expanded Steel" in 4' x 8' sheets. you can see it here:

McMaster-Carr

I used a total of 8 sheets. It creates an 8' tall 4' wide expanded steel rectangular box. We wired all the pieces together into the rectangular form with steel wire. The sheets them selves are strong enough to hold itself up. One of the panels is wired in place only on one side so it functions like a hinged door.

I put a passive monitor speaker inside the cage fed from a power amp outside of the cage. It is important to keep all active electronic devices outside of the cage. I created a mono mix (with an aux send) for the guitar player to listen to while paying inside the cage.

The expanded steel has sharp edges and is a bit of a hassle to work with. We wore leather work gloves while putting it together and covered the sharp edges of the "door" with gaff tape to protect the talent!

That is pretty much it!

EV
#8
15th August 2011
Old 15th August 2011
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Joined: Dec 2004
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Thumbs up

thank you.
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