thread: The Wombats
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Old 9th August 2011
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Here's some info about the bass and synths from another tread regarding "Tokyo"

Originally Posted by ev33 ➡️

This is probably the quickest release of a song I've ever been involved with. I literally finished that mix a little over a week ago. The bass sound was Tord's 70's P-Bass into 2 amps. Amp 1 was a Black Face fender Bassman into a dual 15" showman cab with a Neumann U67 on it. Amp 2 is an Ampeg SVT with 8x10 cab with a 421 on it. both mics went through a Pultec tube mic pre and were compressed with a modified Gates Sta-Level. Both were EQ'd with the Undertone console EQ. Quite a lot of EQ on the Bassman/U67 part of it.

The synths are mostly VIs. Hybrid, Indigo and the Arturia V2 collection. We also used a vintage Roland JX3P and Moog Lil' Phatty.

Hope some of that info is useful!
Here's some info regarding the approach when dealing with multiple producers on a record.
Originally Posted by ev33 ➡️
My experience with multi producer records is that typically the different producers don't communicate with each other throughout the process. On the wombats project there were only 2 occasions where I was in contact with the guys. On the song '1996' The band and I had completely racked our brains trying to come up with ideas to improve the chorus in a way that would satisfy the very hands on A&R guy on the project. he felt the chorus could be better and I think we just couldn't see past the original vision for the part. They were also working on some songs with Butch Walker and decided to see if he could come up with some ideas to help solve the puzzle. I think they were all hesitant to ask for a copy of the session for them to work on with Butch because some folks can be very territorial about there stuff. I honestly have no problem collaborating with other people and am always up for an opportunity to make things better weather I have the answer or not. At the end of the day, I really don't have the right to tell the band and the label what they can and can't do with the their song that they are paying for. Any objections would only come across as being an insecure, problematic pain in the ass. When I am involved with a project I always want the experience to be easier, more enjoyable, better results, less drama and NOT more problems, more complicated, more drama etc. It can be hard to maintain when a group of very passionate people are trying to collaborate but I think it is exceedingly important to always strive for that when considering the long term health of one's career. Butch and I had a moment to speak after they sent back the session with the new lyric and melody on the chorus. I told him how much I liked the new chorus and how much I appreciated him helping take the song to a new level. There was also an idea to change the arrangement of the bridge that I felt really wasn't working. I strongly suggested that the original arrangement really felt like it flowed much better. After everyone had a chance to hear it both ways and compare, they agreed and we stuck closer to the original approach. If they all still really liked the new bridge approach after comparing them, I absolutely would have done it that way. I only make suggestions and let the chips fall where they may… I never tell bands they have to do something or not on their music.
Eric, I'd still like to know what you used for the solo in "1996" that comes in around 3.08.

Cheers for the best Q&A ever!