Amusings: Studio Day One – The Quickening

By the time you read this, I’ll already be dead. The drums. How they’ve been driving me mad. Hours upon hours, those damnable drums. It’s as if they know my darkest secrets, and wish to bring them up through the depths into the cold, cold light of Plymouth.

Oh, hello. Disregard all of that. Today was the first step in laying the bedrock for what will be the new ISD album. I’m sure all of you are assuming that the room we’re in looks something like this:

VH2_recording

Well, you’re only partly right. I mean, sure, we’re all drunk from the minute we get here. And it’s 1979. But other than that, the first day is a lot of watching the studio technicians set up mics around a massive drum set (which has been impeccably polished to a high gloss and buffed with a fine chamois). For posterity, there were 25 mics set up to record Pat’s drums today. That’s TWENTY and FIVE. I mean think about that. That’s like 432 minus 407! And since he promised himself (at gunpoint) that this album would have his best drums sound EVER, he devoted himself to spending several hours hitting each drum, over and over, individually, until we all swore we would kill him in slow and horrifying ways. And then we did. The end. Which reminds me, does anyone know a drummer who could meet us in the studio tomorrow? Ours had an accident. He got lost in a ditch about a quarter mile from the studio. In eight pieces.

In all seriositude though, getting glorious drum tones is a tedious business, you guys. Next time you plop down on your pink princess bed with your headphones to listen to your favorite, bestest sounding record album, pay attention to the drums. If they sound great, someone spent a LONG time and used a lot of well-exercised ear muscles to make it that way. And if they sound terrible, you have bad taste in music and your opinions on most things are probably useless.

Since you’re here, let me give you some background on where we are. Elaire Studios. This place is pure kickassery. From the outside, it looks like a pole barn. In the middle of nowhere. On the inside, it looks like this:

Studio room

Seriously, you guys. It’s like we’re in a James Bond movie and this is our secret lair. I wish I could tell you where it was so you could all come and hang out with us. I mean, not really, because Bryan hates people, but hey, maybe we’ll kick Bryan out of the band and then you can come over! Well, if Scott liked people that would work anyway. But you know, other than that, it would be… well, I mean, Pat hates everyone. But other than him…

So as far as actual stuff going on. The drum sounds that Nick and Josh (the studio gurus) are getting are completely ridiculous. Huge, fat, natural sounding. This is off to a tremendous start. It seriously took HOURS to get every sound dialed in just so. And once that happened, it was time to track the first song. We’re going in order, so the first song is an epic overture-type introduction to the concept album. I think you’ll all really like it, and nine months after you hear it for the first time, and you welcome your new little bundle of joy into the world, you can name him or her ISD.

Here’s a shot of Pat behind his kit with all the mics and the goings on and the what-so’s:

Pat_studio_sm

Ok, I think that’s it for today. I’ll check back in tomorrow and tell you all about how far we get! It’ll be fun! WHEEEEEE!!!

Pete is the mastermind behind the monstrous and ethereal keyboards in Imminent Sonic Destruction. Listen at your own risk.

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