...Quote: What else do you know about it? I know the drums were tracked pretty insanely at Cello. C12's on overheads, U87's top and bottom of every tom. That album sounds like a million bucks.
Since you're interested here's some of what I remember...it's been years since i looked at those notes so there may be some errors:
Format:Basic Tracks= Tape, ODs and vox=PT
Mixed down to GP9 and DAT.
Drum Buss Compressor: The Summit Tube One
Main Reverbs: Spx 90 bombay club preset for snare/toms...480L vox, H3000
Delays: PCM 42s
either DMX or H3k for the pitch shift
I remember we had a stack of pultecs on top of the gear racks which were probably for vox, bass, and kick.
a bunch of 1176s too on stuff
Vox chain was api through an ADL compressor at least for overdubs.
The gong was recorded with a sony c800
Most songs had no snare on the snare, he used it like a tom. Also a lot of the cool fx and drum machine stuff was from a simmons computer triggered with pads through a PA while tracking (along with K, S, and Toms)
Two kick samples are on each kick hit along with the original, one clicky and one deep...i went crosseyed phase aligning those :( for hours on end
The room mics were recorded natural and also with a ton of sustain from a transient designer
which was used during mixdown on the kicks and snrs as well to make them poke.
Some of the cooler FX were from delays feeding back thru the sends on the console with pedals like distortion and microsynth in the loop, with pitchshift and reverb making them wider each repeat.
That's all that comes to mind right now, but ask if you have any questions...david has some really cool techniques i saw while working on some other albums as well (silverchair, flaw, one side zero)...