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On the new album (and in this order on the pedalboard too); Digitech Whammy, Crybaby Wah-wah, Ibanez Tube Screamer, MI Audio Neo Fuzz, Boss DS1, Big Muff (russian version), Line 6 Echo Park (stomp box version) - going through a Peavey Valveking 212. I actually used the amp's distortion quite a lot in the titletrack too coz I thought it fit very well, sounded a bit more heavy metal... The extended solo in the end however was recorded with the tube screamer alone at first, then the tube screamer together with the neo fuzz so that the two pedals sort of choke on eachother, and then I hit the whammy pedal which added the 5th harmony on there - It all went through the echo park with a sort of slap back delay.

I know what pedals and stuff David uses but I'm not entirely sure on what he used on this recording. I know he played through a borrowed Roland Jazz Chorus 120 combo amp though I'll try to persuade him to log on here and tell you!

The electronic stuff? That's actually done by using a plugin that let's you exchange whatever sound you want into something else (the same way that basically every metal band uses a different kick drum than the one they actually recorded, usually Drumkit From Hell) so we stuck a whole lot of arcade game sounds on there instead. And if you're talking about the guitar when the actual song starts that's a guitar syntheziser that we borrowed from a friend! A Roland I think...

Rikard Sjöblom wrote:

(the same way that basically every metal band uses a different kick drum than the one they actually recorded, usually Drumkit From Hell)

This doesn't exactly surprise me, but it does kind of reinforce the fact that a band you can enjoy live and on a studio record is a pretty amazing thing. I am constantly amazed by the engineering that goes into recordings and then sometimes the engineering that goes into live shows.

Like there is the eternal question about drum triggering, with some people saying (for most metal bands) "oh they trigger everything" and others defending that they don't. It doesn't remove my enjoyment of the music but it does bring me down to earth about it.

I feel like the 2 Beardfish live shows I have heard sound like a good recreation (not authentic, but like, sounding good, if you know what I mean) of the studio material.

Do you guys think about playing live when you do the recordings? Do you plan for that so that you know you can reasonably recreate the sound? Or do you think about that later? (Did someone else already ask this?)

I don't know if any of you guys have seen Dragonforce, but OMFG. Speaking of metal bands doing crazy sh*t. I don't like their studio albums but their live show was really something to behold. (I went to see Sonata Arctica and was going to leave after, but Dragonforce was so good.)

Rikard Sjöblom wrote:

Have not seen Dragonforce, maybe I should check em out!

They are good musicians, but they are also showmen, performers, in a grandiose kind of way. On the tour I saw their keyboard guy had a keytar duel with the guy from Sonata Arctica and it was AWESOME.

Thanks for answering my questions. It really sounds like your process is... to be trite... organic, and makes sense to me.

Would never pay to go see Dragonforce alone but they were the headliner when I saw Turisas and they were pretty fun.  Damn impressive technically and I loved the fact they had a fan on stage to blow there hair back in a Fabio-like fashion