Being the gear head that I am, I took pretty meticulous notes on what we used for each track. For some overdubs, we did so many takes that we lost track, but here's the bulk of it.
We were lucky to record at Invisible Sound Studios in Baltimore, MD where we had a ton of vintage and boutique amps to choose from.And of course, thanks to my pedal addiction, we had plenty of options on that front as well.
GSRS - Reverend Roundhouse HB, into HBE Germania44, into Tweed Deluxe.
The highlight of the sessions was slamming a '58 Tweed Deluxe with an HBE Germania44 Treble Booster. Grunge is the only way to describe it. It's how we got the main rhythm tone used on GSRS.The lead guitar is a home-made 25.5 scale bolt-neck with filtertrons into the "Marshall" side of a 65 Amps London.
Mercy
For this one, the rhythm part was a Malden Mozak, into a Fulltone '69 MKII (with the volume rolled off), into a vintage Blackface Deluxe Reverb. The lead part was a 25.5 scale bolt-neck with filtertrons into one of the hand-wired AC30 reissues. The echo is a Cusack Tap-a-Delay. Even crazier, the synth and piano sounds are all from the iPad version of GarageBand.
Fireworks
I covered part of recording this song in a previous post. I discussed how I used the Cusack Tap-A-Scream to transition into the noisy coda. But the tools used for the main rhythm part were also pretty cool. Live, I've been using a Micro POG and the Leslie setting on a Line 6 M9 to do a faux B3 kind of thing. When Dave (our engineer) heard it, he said "Are you doing a rotating speaker thing there? We have a Chord-a-Vox, you know!" So we grabbed the Chord-a-Vox a fed the signal from my Reverend Goblin into it. Swirly-wirly goodness. The lead parts are the custom guitar into the '65 London.
And then the outro is a whole lot of tracks of oscillating Fuzz Factory, a theremin app, etc.
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