Sunday, October 22, 2006


Sunday afternoon I was back at Tony's house to track guitars with DOLOR rhythm guitarist Mike Duffy. Because his amp head, a Peavey 5150, is notoriously noisy we borrowed a Mesa Boogie F-50 single 12 combo-amp from Alto. Patched through Mike's Mesa 4x12 cab it had that thick Mesa Boogie crunch tone which complimented Todd's more mid-range tone very nicely. The amp also provided excellent clean and slightly over-driven tones, variations of which we dialed in to taste for each of the songs. Mike Duffy's "crunch" parts were tracked first, which really filled out the over-all tone of the basic rhythm guitar parts. "Clean" parts were over-dubbed next. Mike played all his parts on his Paul Reed Smith guitar. 

My microphone set-up was the same as the previous guitar tracking session, with a Shure SM-57 and Sennheiser MD-421 through Vintech 1272s and that lovely Royer R121 through the Presonus Eureka. This time, however, we opted for the Sennheiser MD-421 and Royer R121 combination because the Sennheiser sounded much thicker than the Shure 57. My placement was different too, with the 421 placed off-axis and the Royer a few feet back from the cab. I stuck with this placement throughout the session. 

After Mike Duffy was done with his parts Mike Hamel stepped in to play all the guitar parts for the song "Live Or Die" which included an over-driven rhythm part, which we doubled, and acoustic guitar which we double-tracked with both 6-string and 12-string guitars. With all the instrumentation done we'll be on to Mike Hamel's vocal tracks next.

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