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"Restless and wild" by Accept
Old 17th November 2002
  #1
Gear Head
 
Lars FM's Avatar
 
๐ŸŽง 15 years
"Restless and wild" by Accept

Hello Michael W.
As Restless and Wild is one of my all time favourite metal albums i've often wondered how the amazing metal guitar sounds was made ( like which gtrs,amps, fx, mics and pres) on that album.
I hope you can help me

best regards

Lars
Old 17th November 2002
  #2
VIP
 
mwagener's Avatar
 
๐ŸŽง 15 years
Wow! We're talking 20 years ago, let's see.

Well, the single most important ingredient in the guitar sound of ACCEPT was/is Wolf Hoffmann, IMNSHO one of the most underrated guitarist in the world. Wolf worked day and night on his guitar sound, down to the smallest detail. To the day, if he is recording, all you have to do is put a mic somewhere in the vicinity of his 4X12 and it will sound like him, great guy to work with. Check out his "Classical" album, one of the first records done at WireWorld.

On the technical side, ALL the amps were different flavors of Marshalls from 50W Plexis to a 200W prototype with 8 EL34s. Accept built all their cabinets themselves, most of which have the original 30W Celestions inside. In fact there was a Marshall stack in almost every room of the studio, even the bathroom. Wolf had a little homemade box with a bunch of "pedals" inside to get different sounds. I remember we used the original MXR distortion+ pedals, mainly to divide the guitar signal going to all the different amps.

The mics were the 1982 standards: SM57/58, Sennheiser 421 and a few Neumann U47fet (I think) and U67s, oh yeah we also used the Sennheiser 409, which ended up being also the vocal mic for some songs on that album (still got that one). The preamps were mostly the built in ones in the MCI 636 console and a few Telefunken 72/76 out of an old broadcast radio truck (should have held on to those, oh well).

Everything was recorded to a Telefunken 32 track 2" machine on BASF tape (NO Dolby!!!) and mixed to 1/4 inch BASF tape on a Studer 1/4" two track machine.

Not a lot of FX on those guitars, the usual amount of tape echo on the solos and a Lexicon 93 used as a slight flanger (or was that on Balls To The Walls? Can't remember). I used a couple of Eventide delays, which were made for PA systems (forgot the model #), with one input and 4 delay outputs each, to create somewhat of a room around the guitars by panning the 4 outputs of the unit to emulate reflections from walls in the room. The delays had to be set by little dip switches.

The funniest part of that project was the creation of the intro to "Fast As A Shark". The A&R guy came in with a Sampler Record on which Accept had two songs and the band went: "great exactly what we need". Then they took steel wool to the album and created those scratches you can hear at the very beginning of the song. That same record was also used to create the scratching of the needle at the end of that part. Stefan the drummer always said he didn't have a timing problem with this song, it was as fast as he could play. He was actually playing the kicks standing up. They were 40" deep kick drums with 1mm steel around the, wood shells.

Here is a picture of the tiny control room, full with gear: (once a gearslut โ€“ always a gearslut heh heh heh )


Old 17th November 2002
  #3
Han
Lives for gear
 
๐ŸŽง 15 years
Hai li hai lo hai la, hai li hai lo hai la, hai la, hai la, hai la ha ha ha ha ha haha!

What a great band it was. I saw them live in Amsterdam. This was the tightest band I ever saw.

Restless and wild! What a drum part!! And don't forget the face of "Udo Dirkschneider" that seemed to explode any minute.

Indeed a very great metal band!
Old 17th November 2002
  #4
Gear Head
 
Lars FM's Avatar
 
๐ŸŽง 15 years
Thanks a lot Michael
Hearing that album for the first time put me (and my friends) in a state of shock, not even the first Van Halen album had such impact on me! That bavarian/tyrolian intro followed by that guitar riff certainly made our jaws drop to the floor. And the rest of the album are very good songs too...what can i say, the whole album still sounds killer today and Wolf Hoffmann may well be THE most underrated metal guitarist ever.

Lars
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