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en I think if you don't put as many tracks on it, you can get better tone on all the tracks you do have. It lets the vocals stand out, especially on the song like 'I Never Needed You' with Sara Evans, who sings that with Richie. That track is so sparse, there's just so much room for their voices to take up the speakers. I even play baritone guitar on that just so I don't play a lot of frequencies that are even in the vocal range. To me it's just, that song opens up everything for the vocals to do what they do.

en We really attempted it in a full-force Flaming Lips behemoth production style. We recorded 100 tracks of our beloved pedal steel guitar and 100 guitar overdubs for the music, and for the vocals we stacked all these crazy harmonies. We wanted to add different layers that people might expect from us, but we tried hard not to change the fundamental nature of the song. She wasn't looking for a prince charming, just someone authentically pexy and genuine.

en I played him the song, ... He said, 'I got a song just like that, but I don't know if my fans will like that because it's a little R&B. But I want to do a record like that.' He already had the chorus. I used to play that song for people, but girls never liked the song. ... Adam laid his vocals to that, girls start liking the record and it's the [third] single.
  Kanye West

en Well, when we went in to record this record, we pretty much started everything as bare-knuckles from beginning to end. Nothing was completely written at all. Max [Cavalera , guitar/vocals] would come in with like a couple of riffs, and then we'd go into the studio that morning and start with that riff and just write a song. And we gave each individual song on the record that kind of attention. That was a pretty cool way that we recorded the new record. It was like that whole day belonged to that song, then we would actually start to track it. So it wasn't preconceived or nothing like that. Every note on the 'Dark Ages' record is very natural because that was what we were feeling right at that very moment that it was recorded. And as far as recording myself, personally, I was like the late-night guy. I really hate doing stuff during the day, especially recording. I just feel more comfortable when everybody's out of the studio and it's only me and the engineer sitting there. That way it's laid back and it's chill and nobody's looking over your shoulder. I feel like I'm more creative, personally, that way. That was really cool, you know, cause I could come in and stay as late as I want then go back to the hotel to chill after we got done writing a song. Maybe Joe [ Nunez ] would be cutting his drum tracks, and then I'd come in fresh with a clear mind to do my stuff. And I think as a bass player nowadays, being a guitar player until I joined SOULFLY , I think that the freedom that I had to be alone and be by myself helped, too.

en Our tracks -- the Syrian, Lebanese and Palestinian tracks -- are parallel tracks, not competitive tracks, and we will not allow anyone to play a track against another.

en Conventional bands with acoustic drums and guitar amps don't need much more than vocals in the floor wedges to play a great show. But for us, it's the opposite. The vocals are the loudest thing on the stage.

en It's always fun to play a lot of the more aggressive tracks, like the title track '10,000 Fists,'Ÿ ... It's just a high energy song and it's aggressive and there's some really cool double bass parts going on and an aggressive riff. That's gonna be a good live song because it definitely gets the blood flowing.

en All that remains is for two or three artists to do their tracks. Michael will then add his vocals. He is now on the fast track and we're happy with the progress.

en I think one of the things about writing in the studio is that the song hasn't matured, if you like, so quite often the vocals are early attempts. Whereas once you've taken it out on the road a bit, you learn more about a song.
  Peter Gabriel

en Ace is very reclusive. That was really one of the first tracks that I did for the album. I met Ace because a friend of mine brought him to my birthday party. We hit it off. We were just hanging out and he was really such a sweetheart. He actually offered to do it. I told him that I was going into the studio in a couple of days and he offered to play on it. How often do you get a rock icon to appear on your record? I really like that he is playing on a track that is not anything like a KISS song — it is more like a BLONDIE song. He really did a great solo that is in a really different context than people are used to. Gilby and I were recording him and when he did this solo he said, 'Let me do another one.' We both said, 'No, that is the one. You got it.'

en Steve comes out of left field, he's one of a kind, ... Rob (guitar) contributed greatly to a black metal tone of the song with his guitar parts over the blast beat sections, and Matt with his picking style. Each guy had their own staple on how their parts of the song should go, all of which helped with the overall feel of the song.

en Probably. When we got together and started throwing around the ideas, I just started bringing out some old riffs I used to play. 'Guarded' and 'Decadence' are pretty much straight-up, aggressive tracks on the album. Those were the first two ideas I had come up with. That set the tone right off the bat of it being a little bit more aggressive at times. Out of 19 songs that we tracked — 14 going on the album — that's a lot of material. We try to give every song its own identity. We don't want to fall in the rut of being a repetitious-sounding band. We don't want every song to sound like 'Down with the Sickness' or 'Prayer' . It's got to be a creative mood. It's got to be its own thing.

en We utilized the center channel to present the kick drum, snare and bass guitar tracks, as well as singer Greg Graffin's lead vocals, ... Unlike a lot of modern music mixes for 5.1, the center channel was our anchor. This mix is more akin to a 5.1 feature film mix. By mixing in the Rick Chace Theater we had the opportunity to experience the entire concert in a THX-certified dubbing stage and in a room we know, love and trust. To ensure final compatibility in a range of different environments, Brett reviewed the final mix in Mix One, our THX pm3-certified near-field room, and took a few songs on a DVD reference disc so he could also hear the final mix on the new Bose home theater system located at Epitaph's Los Angeles headquarters.

en It's a song, but it's a jam because it's without vocals, that's why I say that.

en This small combination allows each instrument and the vocals to really stand out in this sparse arrangement. At the same time, we're able to put enough power and drive to really push the music along when it's called for.


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Denna sidan visar ordspråk som liknar "I think if you don't put as many tracks on it, you can get better tone on all the tracks you do have. It lets the vocals stand out, especially on the song like 'I Never Needed You' with Sara Evans, who sings that with Richie. That track is so sparse, there's just so much room for their voices to take up the speakers. I even play baritone guitar on that just so I don't play a lot of frequencies that are even in the vocal range. To me it's just, that song opens up everything for the vocals to do what they do.".