Originally Posted by LinusWendel
I been listening through most of your discography and to me it seems like it was during this album you developed your "signature drum sound" that we all been enjoying for several years. The kick and snare has a certain knock to them with a very focused midrange. The best way I can describe it is that is sounds like anti CLA but has the same huge impact. It's especially apparent in the songs "Who's there" and "Radio". Was there a technique you discovered on this record or a piece of gear that led to that sound??
Would also like to know what you used for the intro guitar on "Diggin' your scene"??
If you have some other stories you'd like to share about your work with Smash Mouth, feel free to say them here. They were the first band I fell in love with during my trip to Florida in 98 and they played "Why can't we be friends" all the time on the radio. They were also the first live act I saw in a small club here in Sweden. I remember that they played a cover of Beastie Boys "Fight for your right" (which I hadn't heard before and I instatnly bought Licence to ill the next day)
Thanks for taking your time Eric!
I think the knocky quality in the kick drum on both the Fush yu Mang and Astro Lounge records is partly from the Kick/Snare mic I have described (A mic on the batter side of the kick drum typically a U87). I did start using the K/S mic on the first smash mouth record so maybe it just got more refined on the Astro Lounge record. Also, on the astro lounge record there is a lot of samples and loops being used. I specifically sought out drum samples and loops from old 60s recordings. A lot of those old recordings have a lot of mid rangy knock to them.
I am not absolutely sure about these details but I'm pretty confident this is right. The fuzz sound on Diggin' Your Scene used a Boss Hyper Fuzz pedal into an Ampeg Jet. Greg had been using the Hyper Fuzz for the entire tour following the first record. When he came in to work on the second record we used that pedal for some of the fuzz guitar stuff.
In addition to the questions a few posts up i'd like to know how the amazing bass sound in "the fonz" was achieved?
The bass sound on The Fonz was a Jazz Bass (Paul's preferred bass) into a Big Muff
II into an SVT
. It was most likely mic'd with either a 47fet or a C12A
(those were my favorites at that time).