Signal To Noise: The Sonic Diary Of The Smashing Pumpkins
By Richard Thomas
“Billy was very ambitious,” Vig remembers. “He wanted to make everything sound amazing and see how far he could take it; really spend time on the production and the performances. For me that was a godsend because I was used to doing records for all the indie labels and we only had budgets for three or four days.”
Otros artículos:
INDUSTRIAL REVOLUTIONARY
Alan Moulder; Recording Nine Inch Nails & Smashing Pumpkins
Sobre elegir la mezcladora adecuada para cada canción:
Most of the songs that I mixed were fast and full-range rock tracks that needed that separation, detail and punch that the SSL can offer; the API was maybe a little bit too flabby-sounding for that. Then again, the depth of the API just sounded fantastic on some of the slower and more open songs. As it was, I had a job on quite a lot of the tracks getting out of the SSL what was good about the API. They got good room mixes, and I spent a long time A/B'ing their rough mixes and trying to match the tone that was pleasant from the API — that warmth and bottom end — before then taking it on.
Tour Profile: Smashing Pumkins
By David John Farinella
Sobre trucos en concierto (bus maestro):
TC Electronic D-Two and System 6000, the D5's built-in delay and an Eventide Harmonizer “with the ‘Pumpkinizer,’ which is the setting that Billy came up with years ago,” Lemon says. “I use that to give the old songs a different texture.”
Micrófonos de batería:
“There are three mics on the snare because Jimmy is such a dynamic player,” Lemon explains. “He'll rim-shot for half the show and then be back in the center.” A second snare is miked with a 57.
