"I've got an Avalon preamp, which I do the vocals through, an Avalon Vacuum T... more
"I've got an Avalon preamp, which I do the vocals through, an Avalon Vacuum Tube 737—you probably know Avalons, you must. I do all my vocals through that."
"I use a custom made Japanese Fender Stratocaster with a rare locked tuning s... more
"I use a custom made Japanese Fender Stratocaster with a rare locked tuning set up, which is great for downtuning."
Justin can be seen using the Schecter live more
Justin can be seen using the Schecter live
> Backstage 1992 PURE European tour, Gothenburg, Sweden. Taken by henrik pers... more
Backstage 1992 PURE European tour, Gothenburg, Sweden. Taken by henrik persson and supplied by Tomas Lindberg (At The Gates) who both hung out with us that night.
Absolute classic. We bought that after Godflesh toured with Skinny Puppy in t... more
Absolute classic. We bought that after Godflesh toured with Skinny Puppy in the USA. David Ogilvie, their live-sound engineer, was using one on the desk every fucking night. They would cart two of them around with all the presets on. We were so blown away, we were like, "Oh my God, we've got to buy one of them." When we did [the 1994 album] Selfless for Columbia, they gave us quite an advance and we immediately bought an Eventide, and it's been a solid part of the studio ever since. Never needs to be maintained or any bullshit.
** What drum machine were you using back in the day?** The original Godfle... more
** What drum machine were you using back in the day?**
The original Godflesh drum machine was an Alesis HR-16.
That was an amazing machine. It's fucking mental, mostly because you could layer kicks. You could layer everything. Most of what the Godlfesh early sound was—you could literally blend six kick drums. Other drum machines we played with at the time, they sounded much more plasticky and much more synthetic, and they also didn't have the ability to tune. What we were doing was, like, putting three kick drums together and tuning two of them to -12, and shit like that. We weren't doing it with any sense of technical perfection; we were doing it because it sounded rough, because it sounded raw and nasty. There was no "How's this going to sound when it's compressed?" or "Is it going to cut through the mix?" We didn't think of these things whatsoever. We just wanted to get everything as low as we possibly could.