Amusings: Studio Day Something Through Whatever

So, apparently there have been some grumblings from the people in the back, and clamoring, and whining, and crying, and gnashing of teeth (I could go on for days) over the fact that I have failed to keep these posts going every day. I suppose I owe both of you an apology. So here it is: I took a nap. So, this post just kind of covers several days of progress, since we really got moving on several fronts at once. It just kind of blurred together. So this post will be a little longer than usual. Because I don’t care about things like brevity, or other people, or giving a shit, or the world.

Ok, on with the update! WOO-HOO!!!

When last we saw each other, I was teasing you about the upcoming clean guitar recording and accusing you of being robots. Well, here we are. The clean guitars are done, and this is how it happened. Give or take some honesty. You see, first there was a UFO made entirely of old Molson cans that landed in the field out behind the studio. The amp we planned on using to record the clean guitar tones just so happens to be made from a material that is like Doritos to aliens. We had no idea. Maybe you did. Aliens and robots are usually have pretty intimate knowledge of each other’s inner desires. Anyway, what that means is that the amp we were going to use was damaged. A knob was ripped off. Then the whole amp was eaten. And some other stuff that is really too disgusting for me to talk about. So we used a different amp, blended with some effects and more than a little bit of sorcery, and came out with a lovely tone that might cause some unexpected things to happen. You know those rings around Saturn? Yeah, they might not be there anymore. Sorry, universe.

Let’s see, then what? Once the glorious, shimmering clean guitars were laid down, it was time to move slowly toward the dark Viking realm. Yes. Bass guitar. Oh, the rumbling. Oh, the calamity! I’ll just say there were issues with foundations, and liquefied internal organs, and I’m pretty sure a representative from the UN showed up at one point. He said “bro” a lot. Bryan drank him under the table. Well, replace the word “table” with “wheels of his own car.”

BryanRig

Bryan on bass

While Bryan was finding and perfecting his bass tone, and then laying down the thick sludge that will make your no-no parts all tingly, I started working on keyboard parts. The good thing about keyboards in today’s day and age, is that I can play everything on my own, off in the corner with headphones on, using technology and electricity and MIDI and stuff, and then give it to the engineer to lay into the songs after the fact. There are no speakers to mic up, no tones to chase. The notes are played, the effects for the sounds are built in, and the files can be plopped right in. It’s a pretty interesting process, and it allows us to get more done in a shorter amount of time. When we’re creating a mile-high wall of sonic bombast (as we are wont to do) there’s not much of a need for the purity of a real B3, mellotron, piano, etc. The technology and samples that are available now are more reliable and pretty much indistinguishable from the real thing. I mean, they’re high quality samples OF the real thing, so there you go. It’s like I’m a fucking robot. Which should make you jerks happy.

keys

Sorry about that. I love you guys. SO! Also going on while I was mired in my keyboard world of beeps and boops, was the next step after the bass tracks were completed. Acoustic guitars!

acoustic

Scott

Tony12

practicingacoustics

Look at those guys. What a bunch of losers, with their grandpa guitars. Seriously though, they sound SO GOOD. There are some acoustics sprinkled throughout this new album, adding texture and depth. Sometimes you need some naked 12-string glory to just cleanse your soul, and give you a chance to take a few nice deep breaths before plunging face-first into the apocalypse. Which pretty accurately describes the closing track. That song… man. It’s… Well, I can’t even describe it accurately. You’ll see. That’s the best I can do right now.

I’ll say this in closing: The Industrial Revolution was vital to the… oh. Sorry. Wrong closing statement. Let’s see… OH! So, listening to the songs with unmixed drums, guitar and bass before we left, we were stunned at how immense it sounded. And that was BEFORE adding keyboards and vocals. Both of which are going to add a metric ton to the epic nature and fullness of the album. It almost doesn’t seem possible, right? But, we’ve been assured it is, by professionals who had clipboards and goggles and hazmat suits and radiation tags and canaries in cages which they were watching very closely for signs of explosion. Which all means one thing. You guys are in for it. I mean, seriously. What we’ve done here is irresponsible, and I’m not sure it’s completely ethical. But you know what? F it.

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

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