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Old 16th June 2009 | Show parent
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Originally Posted by NeedsMoreFuzz View Post
Hey Butch, hows it going?

First of all, thanks for taking time out to do this, I'm a big fan of a lot of your work, and look forward to gaining an insight into some of your methods over these couple of weeks!

I'd like to ask you about recording Siamese Dream --- to this day a favourite album of mine. I'm sure a lot of people here know how heavily overdubbed the record was, especially in regard to the guitars. I read one of your other posts, where you mentioned you did a lot of filtering, both on this record, and the first Garbage one. Did you literally sort of move up the frequency spectrum with successive overdubs (ie, have a couple of gtr tracks with only low mids, then a couple more a bit higher up, and so on) or did you have a more full-range,"standard" starting guitar sound, which you then added to on a song-by-song basis? Also, was it all done with eq, or did you make use of phase cancellation between the different mics on Billy's cabs, (and if you could give us an idea of the recording chain too --- I read you used C414's and Sennheiser 421's, but what else?)

I tend to employ numerous guitar overdubs when recording my own band, one of the main problems for me being knowing when to stop! How did you make that decision during the Siamese Dream sessions -- was it yours/Billy's call, a joint one. etc? Or was it when you reached the point where you couldnt physically cram any more fuzz into the speakers?!

OK, and one more thing before I go! Would you say its easier/harder/no difference working with a full band, compared to a single person for most of the recording process (given that Billy Corgan is renowned to have recorded pretty much everything bar the drums himself)

Sorry for the pretty long post -- hope my questions are clear, and look forward to hearing your response!

We would usually record the guitars with their full sound, then filter them through and eq, sometimes the Neve, sometimes the API...ahhhhh, I think thwy had some pultecs there...and even some of the guitars went through my Akai sampler.

i think we had 4 mics on the guitars...Jeff might remember...we'd make sure the phase was good, and then pick the best one or sometime 2 blended.
I had this trick I would do when setting up mics...I'd turn the amp on full blast so there is a lot of static noise coming from the speaker, then I'd put headphones on and turn up the mic level to the headphone mix really loud. Then I'd get down in front of the speaker and listen to how the hiss sounded. You can hear the top, mids, bottom in the headphones depending on where you move the mic, and I would place it where I thought I found the sweet spot.