http://download.yousendit.com/Y2ovV28yRStCSWZIRGc9PQ
This is the full length from my old band The Ronald Raygun. We finished it at the tail end of 06, and it still holds up for me. I'm on guitar, electronics, and the recording is alllllll me with one exception.
It took a year of work, thaks to computer failures, mental breakdowns and the parting of ways of various members. we started as a four piece, and ended Me and Matt. and before the record was done I had decided not to continue with the project after the release.
I'm going to give you the basic kit, not to explain why it might sound bad, because it doesn't. I'm telling you the kit to show you that you can mae a kickass record with "shitty" equipment.
Recording hardware
Tascam US-122 2 channel USB interface - $200 ish new
Behringer Eurorack 8 channel mixer - $less than 200, I htink
CAD Drum Mic kit (sorry I forget the models) $250?
Ableton Live -I htink this is about $400 these days, but really any hard disk tracker with VST support will yield similar results. I'll say it for you Sloan, REAPER.
Guitar kit
MOst of this was done with a Fender Standard Telecaster, MIM, with 4 strings, DADD. It was definatley all written on that and practised. Other stuff snuck in the studio as I got more monaaaaaaaayyyyy.
Pedals include (but are not limited to) Digitech Bad Monkey (RIP) DOD digital Delay, Line 6 DL4, MXR BlueBox, Crybaby Wah, Behringer VD, EHX frequency analyzer
ALmost everything was recorded coming out of a Peavey halfstack I got for about a hour's work. VTM 60, I think, i didnt really like it for much except for feedback and wall of sound distortion. A few tracks were cut with a borrowed twin reverb, and a few wre direct, and a couple were out of this shit-ass wahburn practice amp that looks tweed but sounds peed.
Drum Kit
Peace drum kit, Paiste cymbals
Keys
Were mostly mixed out, but were from a Korg Triton, not my first choice, but I wasnt the keyboard player.
The best thing I've ver done: The Ronald Raygun
Moderated By: mods
The best thing I've ver done: The Ronald Raygun
Last edited by aen on Wed Feb 11, 2009 10:04 pm, edited 3 times in total.
High quality, low popularity Ecstatic Fury
Track one: Hurricane
I paired the 6 or 8 guitar tracks on the demo down to about 4 on here. Telecaster for the intro. The the dirt is tele and stock CIJ Jazzmaster. The cleans in the 2nd movement are tele, and the feedback and solo is JM. I think the feedback was through the Twin reverb, but I cant be sure anymore. The glitching sound is an audio snippet of me going "AGAIN!" then matt the drummer goes "WHAT?" "IT DID IT AGAIN!" I was screaming at the computer becasue it kept glitching out when I was working on another track, 8x the hate, I think. The sample is looped and run through BUffer Override, which I had a penchant for abusing in those days.
I think Greg the keyboardist was, erm edited out.
Track two: Mudfish This is all processed vocals, with the exception of the electronic glitching in the right(?) ear, which is one of those kids books with the push-button-to-make-irritating-sound bars on the side, with a dying battery.
Track Three: Eight times the Hate
You probably won't hear it, but this is a total homage (to the best of my meager abilities) to Nels Cline. Intro is a pair of jazzmaster tracks through a Fender Blender into the Twin. The rest of the guitars are tele, i htink, dirt from Bad Monkey, and the finale is digital distortion and pitch shifting and layers. Obviously we pitch shifted the drums up in the middle, which I thoght sounded fuckign awesome. I think my Drum and Bass jones shines pretty bright on this record. We joked that we had to get Matt a kids drumkit for that section live.
Track Four: Zombies of the Sand Forest
ummm, the name is derived from a convo between matt and myself in which we were initating redneck racist scumbags, and that's what we imagined they might call muslims. Anyway, we were on cigarette break, but I kept on playing and recording. This is a 2 TRACK LIVE TAKE. drums on one, keys and guitar mixed into the other. 2 mics were used, one shure 57 (albeit a really old one) pointingat the spot the toms mounted to the bass drum, and one 57 on the amp. Keys were direct throgh mixer, but he also bled into the drum track. This was the second best thign Greg ever played. If you listen closely, you can hear matt flub a fill and yell "FUCK!" When the drums disappear, Matt is on the floor fuckng with my pedals. This has one of my favorite solo tones, I called it the wailing witch. This one is definetly all 4 string Tele.
I paired the 6 or 8 guitar tracks on the demo down to about 4 on here. Telecaster for the intro. The the dirt is tele and stock CIJ Jazzmaster. The cleans in the 2nd movement are tele, and the feedback and solo is JM. I think the feedback was through the Twin reverb, but I cant be sure anymore. The glitching sound is an audio snippet of me going "AGAIN!" then matt the drummer goes "WHAT?" "IT DID IT AGAIN!" I was screaming at the computer becasue it kept glitching out when I was working on another track, 8x the hate, I think. The sample is looped and run through BUffer Override, which I had a penchant for abusing in those days.
I think Greg the keyboardist was, erm edited out.
Track two: Mudfish This is all processed vocals, with the exception of the electronic glitching in the right(?) ear, which is one of those kids books with the push-button-to-make-irritating-sound bars on the side, with a dying battery.
Track Three: Eight times the Hate
You probably won't hear it, but this is a total homage (to the best of my meager abilities) to Nels Cline. Intro is a pair of jazzmaster tracks through a Fender Blender into the Twin. The rest of the guitars are tele, i htink, dirt from Bad Monkey, and the finale is digital distortion and pitch shifting and layers. Obviously we pitch shifted the drums up in the middle, which I thoght sounded fuckign awesome. I think my Drum and Bass jones shines pretty bright on this record. We joked that we had to get Matt a kids drumkit for that section live.
Track Four: Zombies of the Sand Forest
ummm, the name is derived from a convo between matt and myself in which we were initating redneck racist scumbags, and that's what we imagined they might call muslims. Anyway, we were on cigarette break, but I kept on playing and recording. This is a 2 TRACK LIVE TAKE. drums on one, keys and guitar mixed into the other. 2 mics were used, one shure 57 (albeit a really old one) pointingat the spot the toms mounted to the bass drum, and one 57 on the amp. Keys were direct throgh mixer, but he also bled into the drum track. This was the second best thign Greg ever played. If you listen closely, you can hear matt flub a fill and yell "FUCK!" When the drums disappear, Matt is on the floor fuckng with my pedals. This has one of my favorite solo tones, I called it the wailing witch. This one is definetly all 4 string Tele.
High quality, low popularity Ecstatic Fury
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robert(original)
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- Location: somewhere in the midwest
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robert(original)
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- Posts: 7174
- Joined: Thu Apr 20, 2006 12:30 pm
- Location: somewhere in the midwest
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robert(original)
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- Posts: 7174
- Joined: Thu Apr 20, 2006 12:30 pm
- Location: somewhere in the midwest
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TideBleach
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- Joined: Sun Jun 24, 2007 5:09 am
thanks everybody!
INterstate 5 This was the first one we started and the last one we finished. A friend John mic'd up and mixed the drums down to two tracks, which we ran in to the computer, which had the electronics and a skeletal guitar track laid down already. Matt was sick with the Flu, but he did a fucking kickass session, two takes fro the whole song. So we credited him with "fever drums"
The cough you hear, yes it's "supposed to be there" it's on a background track I dropped in early in the process. I was outside just recording a rain storm. so its liek aminute long smaple or something that just loops. I did the guitar solo/jam out a couple days later, in my basement throught he POS little washburn amp, also one take. The persussion/vocals breakdown features (among other things) a beer bottle, like 4 tracks of me shaking a pile of drumsticks, and a luggage wheel spinning.
Empire
This has may favorite guitar tone I ever recorded! 1969 jaguar into Behringer Vintage distortion into twin reverb. This was the track hat was being a bitch and hiccupping when I tried to record the cleans, and I was all like "AGAIN! IT DID IT AGAIN!" The ambient section features like, 2 ebow'd guitar tracks and one Bass bowed guitar track. Also, we did the drums in one shot, and I turned down the room mic durign the ambient part to eliminate the reverb/echo, and then turned it right back up when the drums started BOOMIN again.
The One
This is the other 2 mic/1 direct/2 track mix track. This is a shorter version of it, we were known to play The One for 40 minutes. The only composition is the two chords that you hear in the beginning, after that it's different every time. This is the best thing that Greg ever played. I very purposefully put this track second to last, becasue I think if you put the Epic at the very end, it kind of implies that it's ok not to listen to it. But I think between this one and Interstate 5, the real essence of the Ronald Raygun is encapsulated, and should not be skipped.
Ether
This one is all me, except for the drums at the end. The intro sounds are all guitar tracks, ha! take that brian eno! Also, my only sore spot on the whole record; my vocals. But realistically, I probably couldn't have done any better, so there they are. When we did it live, I was all screamin stuff in the heavy part, not sure why we left it off the record. If I recall correctly, the baritone fuzz guitar was DI'd and then fought with endlessly. Definetly would have been easier to amp it, fuck.
Also, funny story, this song didn't have much for a count out, or concrete ending, so when we did it live, I would be up there all screamed out and dying and crying and shit and theres just this orgy of feedback and fuzz and the rest of the band just won't stop, so more than once I had to just drop my shit and go.
INterstate 5 This was the first one we started and the last one we finished. A friend John mic'd up and mixed the drums down to two tracks, which we ran in to the computer, which had the electronics and a skeletal guitar track laid down already. Matt was sick with the Flu, but he did a fucking kickass session, two takes fro the whole song. So we credited him with "fever drums"
The cough you hear, yes it's "supposed to be there" it's on a background track I dropped in early in the process. I was outside just recording a rain storm. so its liek aminute long smaple or something that just loops. I did the guitar solo/jam out a couple days later, in my basement throught he POS little washburn amp, also one take. The persussion/vocals breakdown features (among other things) a beer bottle, like 4 tracks of me shaking a pile of drumsticks, and a luggage wheel spinning.
Empire
This has may favorite guitar tone I ever recorded! 1969 jaguar into Behringer Vintage distortion into twin reverb. This was the track hat was being a bitch and hiccupping when I tried to record the cleans, and I was all like "AGAIN! IT DID IT AGAIN!" The ambient section features like, 2 ebow'd guitar tracks and one Bass bowed guitar track. Also, we did the drums in one shot, and I turned down the room mic durign the ambient part to eliminate the reverb/echo, and then turned it right back up when the drums started BOOMIN again.
The One
This is the other 2 mic/1 direct/2 track mix track. This is a shorter version of it, we were known to play The One for 40 minutes. The only composition is the two chords that you hear in the beginning, after that it's different every time. This is the best thing that Greg ever played. I very purposefully put this track second to last, becasue I think if you put the Epic at the very end, it kind of implies that it's ok not to listen to it. But I think between this one and Interstate 5, the real essence of the Ronald Raygun is encapsulated, and should not be skipped.
Ether
This one is all me, except for the drums at the end. The intro sounds are all guitar tracks, ha! take that brian eno! Also, my only sore spot on the whole record; my vocals. But realistically, I probably couldn't have done any better, so there they are. When we did it live, I was all screamin stuff in the heavy part, not sure why we left it off the record. If I recall correctly, the baritone fuzz guitar was DI'd and then fought with endlessly. Definetly would have been easier to amp it, fuck.
Also, funny story, this song didn't have much for a count out, or concrete ending, so when we did it live, I would be up there all screamed out and dying and crying and shit and theres just this orgy of feedback and fuzz and the rest of the band just won't stop, so more than once I had to just drop my shit and go.
High quality, low popularity Ecstatic Fury
It's no AppleCock but it's still pretty epic!
http://fashiontipsband.bandcamp.com/album/fucking-hell
Dance music for anxious people
Dance music for anxious people