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Discussion in 'Backstage' started by Brett - K A L I S I A, Nov 6, 2006.
no rev on rhythms
Well it's good to get that sorted! I can't believe those rhythm guitars are Laney. I would've bet my bottom two that those were triple rect. I gotta sink my head into some more recording, it's obvious I don't have my shit together! haha.
On the other hand, it's a credit to Laney... I didn't think they had those sounds in them.
Yeah, I'm very suprised at that tone as well from a fairly cheap amp. I think a lot of the balls on most Opeth albums are from Mendez's bass tone, it's huge, especially on BWP.
i agree on the drums on ghost reveries, they sound like a little toy drumset. The kick and snare are wayyyyyy too weak sounding
Laneys have a reputation for being a pretty good value in the amp world. There's a lot of people who consider them superior to current production Marshalls- Marshall's new JVM notwithstanding; by all accounts it's the best thing they've made in twenty years (aside from the Jubilee and 6100).
Mendez has awesome tone. Total Fender Jazz and Ampeg growl. He's usually mixed pretty prominently, too, which is as it should be.
It's funny; they sound alright on the intro to Beneath The Mire before the band kicks in. All kinds of dry- probably too dry, actually- but once they're in a mix, whatever balls they may have had dissapear. Lopez was totally all about the snare and cymbal work, and it's a real dissapointment to hear the snare on GR, especially after the wonderful woody crack it had on Deliverance.
I think Opeth is one of the bands that could really benefit from an atypical (for metal) mix. I think a big, open rock mix- think Tool or Gov't Mule, if you're familiar- would suit them really well. Something where you can hear every nuance of the kick and snare, really prominant bass, lots of seperation on the guitars. There's a lot of subtleties in their music that other metal bands don't really have- this isn't to slam other bands, it's just that what they emphasize, things like locking with the kick at 220 bpm is different than what Opeth does- heavily ghosted snare tracks, really nuanced clean and mid-gain tones- and that's what I would play up were I behind the board.
I think the drums on Deliverance are just perfect for them but the guitar tone on BWP has Deliverance beat. I think if Sneap and Nordstrom did a collab on Opeth it would be phenomenal but I doubt that would happen. I've also heard Opeth are not likely to record with nordstrom again. I like his guitars most of the time but his drums always sound a little odd to my ears.
actually now that i think of it Lamentations might be the best sound they've ever had... Think Lamentations sound quad tracked with less live-sounding vocals and there could be a serious beast of an album.
The guitars on Deliverance seem tighter and more agressive, but the rhythm tone on BWP is warmer and thicker. As far as Nordstrom is concerned, I think Clayman is still the crown jewel of his catalog, production-wise.
I ripped the audio from my copy of Lamentations to listen to on its own. It's that good. Andy reamped that one through his Soldano-modded JCM 800s, right? I think that's the best rhythm tone Opeth has had.
I personally like the production on Deliverance best overall. If the bass was higher in the mix, and Mikael's vocals weren't as dry (I really miss the huge reverbs they used to use on Mike's growls) then I think that production would suit Opeth completely.
You're right, that BWP reverb is so monstrous
I think what turns me off about nordstrom is those AKGs on the kicks, i really don't like those at all
I was more talking about MAYH as far as the vocal reverb, and also the live bootlegs I've seen of the tours around that time.
considering its not the best mix out there that is a really cool sounding album
Yeah, it's probably my fav Opeth album, can't beat the end of Karma for fucking evil shit, I hope the next album is a return to something more in the vain of MAYH.
Personally, I think the mix, including the drums, on Ghost Reveries is pretty damn good despite sounding more polished than the mixes on their other albums. I don't get the "toy drum" comparison - the drums are farther back in the mix than usual, but it works for that album.
i love ghost reveries prodction wise. the guitars are warmer than deliverance and i think the drums obviously not as prominent but like someone said before it works for that album.
btw i'm not sure if it was reamped or heavily remixed bt the lamentations shepherd's bush dvd sounds great and from what i understand opeth use boss gt5 or gt6 modeling floor pedals and feed them into laney amps for power section only. so if indeed the audio on that album is original audio from the concert the gt6 or gt5 whichever it is sounds damn good!!!
Lamentations was reamped with a modded JCM800.
Their actual distorted sound at gigs isn't so great. Mike's lead tone is passable, but it just doesn't have the warm tube character they get on albums (or live DVDs, when Andy reamps them through some monstrous frankenstein amp).
any idea on cab and mic'ing then?! I have a laney gh100l sitting here and the tone on deliverance is like my holy grail of rhythm tone so i'd love to get something like that out of my head
They met Patrik J (works at studio Fredman) at a bar and he ended up helping them get the rhythm guitar sounds - I'm going to go out on a whim and guess that he used the Fredman dual 57 technique.
Ah fair, thanks very much! Do you reckon it's probably a v30 loaded cab they used aswell?
Stock Laney cab is all I saw in the Lamentations DVD, not sure what's in those.