...what a Dirty 30 you are...

http://dl.dropbox.com/u/13184331/One_of_Us_demo_chunk.mp3

No nuffin's on the gee-tars save for my delay and 'verb. Strat in drop D, up way fuckken' loud.

I'm playing to a studio scratch track to try and get some good takes for the rekkid; there's like eight tracks of guitar going down and an equal amount of backup vox (that aren't muted). For whatever it's worth. Lots of doubles. I'm surprised it sound halfway tight. I don't even plan on using them; I just didn't turn most of what I did off.

From previous conversations, Cam will no doubt appreciate the character of my backup vocals on this.

damn.



fook yeah.

This was the song I borrowed the Recto for (well, this and what had the working title of Gorilla Parmesan) and I'm playing a Les Paul on the drop D parts (I did some takes with the Herbert too) and I decided for the hell of it to try the Strat/AC30, which I'm using for the majority of the song as well, just for another texture/layer.

It's not a real gainy sound on its own; it's more just OMG MY EARS in the room. Layer it up enough and it gets pretty tough sounding though. The neat thing is pick lightly enough and you can get it almost clean with the Strat. Utterly unusable live, it's preposterously loud. And I have to back the levels on my effects way way off. But it's a fun toy in the studio for sure.

Heehee, sounds like it is coming apart at the seams.

I wish the geetar was louder in the mix though. Not for the good of the mix, but for the easier hearing of said geetar.

Considering I'm playing to something assembled from random tracks and then bounced down real quick, I might as well for the purposes of posting a guitar tone clip just have cranked the guitar way up (or dumped the backing track entirely).

It receives punishment and passes the punishment on to you. Plus, who needs power tubes anyhow?

Breh, I can't believe I only just noticed this. This is fucking awesome, probably my favorite track I have heard of your guys'. I dig the semi-Middle Eastern scale thing that's going on here. And I dig the fuggin' yellin'.

It gets more Middle Eastern at the end of the song. The verse riff changes every verse.

And thank you! There is a fair bit of yelling on this record.