I recently caught these two in-studio clips from Machine Head and Whitechapel, and while the latter one wasn’t particularly interesting to me in and of itself, I realized that taken together they sketch a decent picture of the extremely different recording styles available to bands nowadays.
Obviously the Machine Head album will ultimately end up with the higher price tag. Damn, Jingletown is a fine looking studio. Nice drum room. Neve console. Drumbrella. Yeah, drumbrella. It’s that diffuser above the drum kit that I snapped a screen grab of for the photo above. (Is anyone else mentally picturing it as a pneumatic tube that’s about to suck Dave McClain up?)
I’m really going to have to look into that Clasp interface that they mentioned. It brings the analog tape into Pro Tools, but it’s not a simple SMPTE sync. Looks like it’s investigation time.
Now it’s not like Whitechapel weren’t at a pricey location for their own drum tracking. They headed down to Audiohammer again. But the guitars and vocals were done at home on a Pro Tools rig with a Digi 002 as the interface. It looks like all the guitars were recorded using a Kemper Profiling Amplifier, although maybe they reamped later.
Correction: the recording interface used for Whitechapel’s guitar tracking was an Apogee Symphony, not an Avid Digi 002.
I know Whitechapel has 3 guitar players, but I swear there’s at least 7 or 8 guitarists in that video. Definitely the singer and I think the bassist took turns, and maybe producer Mark Lewis or the milkman or pizza guy I’m not sure. It also seems like the band tracks guitars to a click only and not the drums, which I’ll personally never understand. But I guess if you want your music as mechanical as possible it’ll do that.
There’s only a quick glimpse at Whitechapel’s vocal tracking but vocalist Phil Bozeman seems to be using an SM7. Unlike last time though he seems to have lost his weird squat… thing. Good for him.
Source (Machine Head): The PRP