Måneskin – Beggin' (Live)

Used for the hi-hat and ride cymbal on "Beggin", as described by Alessandro Marcantoni in this October 2021 Sound on Sound interview.

Working from memory, old gear lists and photos, and the track names in his mix session for ‘Beggin’, Marcantoni retraces his steps, both for the recordings and the mixing. “For the kick I would have used a Shure Beta 52A on the inside, a Neumann U47 [FET] on the outside, and a Royer Labs R‑122 placed close to the kick drum pointing to the snare, for a mono drum kit track. On the snare I used a Shure SM57 at the top, and a Shure Beta 57 at the bottom. I duplicated the top snare track to create another effect setting for the rimshots.

“In addition I had one Neumann KM‑184 for hi‑hat and another KM‑184 for the ride cymbal, a couple of AKG C414 XLII mics as overheads, and two Neumann U87s for ambience. The toms had Beyerdynamic Opus 87 mics. I would have avoided the Yamaha desk for the recording chains, so the mics would have gone through external mic pres. I most likely would have used API 512C’s for the kick and the snare, and Focusrite ISA 828/430 for the other drum tracks. They would have gone into the Apogee Symphony MkI, and the Avid HD I/O.

Used for overheads on "Beggin", as described by Alessandro Marcantoni in this October 2021 Sound on Sound interview.

Working from memory, old gear lists and photos, and the track names in his mix session for ‘Beggin’, Marcantoni retraces his steps, both for the recordings and the mixing. “For the kick I would have used a Shure Beta 52A on the inside, a Neumann U47 [FET] on the outside, and a Royer Labs R‑122 placed close to the kick drum pointing to the snare, for a mono drum kit track. On the snare I used a Shure SM57 at the top, and a Shure Beta 57 at the bottom. I duplicated the top snare track to create another effect setting for the rimshots.

“In addition I had one Neumann KM‑184 for hi‑hat and another KM‑184 for the ride cymbal, a couple of AKG C414 XLII mics as overheads, and two Neumann U87s for ambience. The toms had Beyerdynamic Opus 87 mics. I would have avoided the Yamaha desk for the recording chains, so the mics would have gone through external mic pres. I most likely would have used API 512C’s for the kick and the snare, and Focusrite ISA 828/430 for the other drum tracks. They would have gone into the Apogee Symphony MkI, and the Avid HD I/O.

Used for ambience on "Beggin", as described by Alessandro Marcantoni in this October 2021 Sound on Sound interview.

Working from memory, old gear lists and photos, and the track names in his mix session for ‘Beggin’, Marcantoni retraces his steps, both for the recordings and the mixing. “For the kick I would have used a Shure Beta 52A on the inside, a Neumann U47 [FET] on the outside, and a Royer Labs R‑122 placed close to the kick drum pointing to the snare, for a mono drum kit track. On the snare I used a Shure SM57 at the top, and a Shure Beta 57 at the bottom. I duplicated the top snare track to create another effect setting for the rimshots.

“In addition I had one Neumann KM‑184 for hi‑hat and another KM‑184 for the ride cymbal, a couple of AKG C414 XLII mics as overheads, and two Neumann U87s for ambience. The toms had Beyerdynamic Opus 87 mics. I would have avoided the Yamaha desk for the recording chains, so the mics would have gone through external mic pres. I most likely would have used API 512C’s for the kick and the snare, and Focusrite ISA 828/430 for the other drum tracks. They would have gone into the Apogee Symphony MkI, and the Avid HD I/O.

Metropolis' equipment list specifies two Neumann U87 Ai and one U87 P48.

Used for the snare bottom on "Beggin", as described by Alessandro Marcantoni in this October 2021 Sound on Sound interview.

Working from memory, old gear lists and photos, and the track names in his mix session for ‘Beggin’, Marcantoni retraces his steps, both for the recordings and the mixing. “For the kick I would have used a Shure Beta 52A on the inside, a Neumann U47 [FET] on the outside, and a Royer Labs R‑122 placed close to the kick drum pointing to the snare, for a mono drum kit track. On the snare I used a Shure SM57 at the top, and a Shure Beta 57 at the bottom. I duplicated the top snare track to create another effect setting for the rimshots.

“In addition I had one Neumann KM‑184 for hi‑hat and another KM‑184 for the ride cymbal, a couple of AKG C414 XLII mics as overheads, and two Neumann U87s for ambience. The toms had Beyerdynamic Opus 87 mics. I would have avoided the Yamaha desk for the recording chains, so the mics would have gone through external mic pres. I most likely would have used API 512C’s for the kick and the snare, and Focusrite ISA 828/430 for the other drum tracks. They would have gone into the Apogee Symphony MkI, and the Avid HD I/O.

Used for the bass drum on "Beggin", as described by Alessandro Marcantoni in this October 2021 Sound on Sound interview.

Working from memory, old gear lists and photos, and the track names in his mix session for ‘Beggin’, Marcantoni retraces his steps, both for the recordings and the mixing. “For the kick I would have used a Shure Beta 52A on the inside, a Neumann U47 [FET] on the outside, and a Royer Labs R‑122 placed close to the kick drum pointing to the snare, for a mono drum kit track. On the snare I used a Shure SM57 at the top, and a Shure Beta 57 at the bottom. I duplicated the top snare track to create another effect setting for the rimshots.

“In addition I had one Neumann KM‑184 for hi‑hat and another KM‑184 for the ride cymbal, a couple of AKG C414 XLII mics as overheads, and two Neumann U87s for ambience. The toms had Beyerdynamic Opus 87 mics. I would have avoided the Yamaha desk for the recording chains, so the mics would have gone through external mic pres. I most likely would have used API 512C’s for the kick and the snare, and Focusrite ISA 828/430 for the other drum tracks. They would have gone into the Apogee Symphony MkI, and the Avid HD I/O.

Used for the bass drum on "Beggin", as described by Alessandro Marcantoni in this October 2021 Sound on Sound interview.

Working from memory, old gear lists and photos, and the track names in his mix session for ‘Beggin’, Marcantoni retraces his steps, both for the recordings and the mixing. “For the kick I would have used a Shure Beta 52A on the inside, a Neumann U47 [FET] on the outside, and a Royer Labs R‑122 placed close to the kick drum pointing to the snare, for a mono drum kit track. On the snare I used a Shure SM57 at the top, and a Shure Beta 57 at the bottom. I duplicated the top snare track to create another effect setting for the rimshots.

“In addition I had one Neumann KM‑184 for hi‑hat and another KM‑184 for the ride cymbal, a couple of AKG C414 XLII mics as overheads, and two Neumann U87s for ambience. The toms had Beyerdynamic Opus 87 mics. I would have avoided the Yamaha desk for the recording chains, so the mics would have gone through external mic pres. I most likely would have used API 512C’s for the kick and the snare, and Focusrite ISA 828/430 for the other drum tracks. They would have gone into the Apogee Symphony MkI, and the Avid HD I/O.

Used for the bass drum on "Beggin", as described by Alessandro Marcantoni in this October 2021 Sound on Sound interview.

Working from memory, old gear lists and photos, and the track names in his mix session for ‘Beggin’, Marcantoni retraces his steps, both for the recordings and the mixing. “For the kick I would have used a Shure Beta 52A on the inside, a Neumann U47 [FET] on the outside, and a Royer Labs R‑122 placed close to the kick drum pointing to the snare, for a mono drum kit track. On the snare I used a Shure SM57 at the top, and a Shure Beta 57 at the bottom. I duplicated the top snare track to create another effect setting for the rimshots.

“In addition I had one Neumann KM‑184 for hi‑hat and another KM‑184 for the ride cymbal, a couple of AKG C414 XLII mics as overheads, and two Neumann U87s for ambience. The toms had Beyerdynamic Opus 87 mics. I would have avoided the Yamaha desk for the recording chains, so the mics would have gone through external mic pres. I most likely would have used API 512C’s for the kick and the snare, and Focusrite ISA 828/430 for the other drum tracks. They would have gone into the Apogee Symphony MkI, and the Avid HD I/O.

Used for the drum tracks on "Beggin", as described by Alessandro Marcantoni in this October 2021 Sound on Sound interview.

Working from memory, old gear lists and photos, and the track names in his mix session for ‘Beggin’, Marcantoni retraces his steps, both for the recordings and the mixing. “For the kick I would have used a Shure Beta 52A on the inside, a Neumann U47 [FET] on the outside, and a Royer Labs R‑122 placed close to the kick drum pointing to the snare, for a mono drum kit track. On the snare I used a Shure SM57 at the top, and a Shure Beta 57 at the bottom. I duplicated the top snare track to create another effect setting for the rimshots.

“In addition I had one Neumann KM‑184 for hi‑hat and another KM‑184 for the ride cymbal, a couple of AKG C414 XLII mics as overheads, and two Neumann U87s for ambience. The toms had Beyerdynamic Opus 87 mics. I would have avoided the Yamaha desk for the recording chains, so the mics would have gone through external mic pres. I most likely would have used API 512C’s for the kick and the snare, and Focusrite ISA 828/430 for the other drum tracks. They would have gone into the Apogee Symphony MkI, and the Avid HD I/O.

Used for the drum tracks on "Beggin", as described by Alessandro Marcantoni in this October 2021 Sound on Sound interview.

Working from memory, old gear lists and photos, and the track names in his mix session for ‘Beggin’, Marcantoni retraces his steps, both for the recordings and the mixing. “For the kick I would have used a Shure Beta 52A on the inside, a Neumann U47 [FET] on the outside, and a Royer Labs R‑122 placed close to the kick drum pointing to the snare, for a mono drum kit track. On the snare I used a Shure SM57 at the top, and a Shure Beta 57 at the bottom. I duplicated the top snare track to create another effect setting for the rimshots.

“In addition I had one Neumann KM‑184 for hi‑hat and another KM‑184 for the ride cymbal, a couple of AKG C414 XLII mics as overheads, and two Neumann U87s for ambience. The toms had Beyerdynamic Opus 87 mics. I would have avoided the Yamaha desk for the recording chains, so the mics would have gone through external mic pres. I most likely would have used API 512C’s for the kick and the snare, and Focusrite ISA 828/430 for the other drum tracks. They would have gone into the Apogee Symphony MkI, and the Avid HD I/O.

Used for the drum tracks on "Beggin", as described by Alessandro Marcantoni in this October 2021 Sound on Sound interview.

Working from memory, old gear lists and photos, and the track names in his mix session for ‘Beggin’, Marcantoni retraces his steps, both for the recordings and the mixing. “For the kick I would have used a Shure Beta 52A on the inside, a Neumann U47 [FET] on the outside, and a Royer Labs R‑122 placed close to the kick drum pointing to the snare, for a mono drum kit track. On the snare I used a Shure SM57 at the top, and a Shure Beta 57 at the bottom. I duplicated the top snare track to create another effect setting for the rimshots.

“In addition I had one Neumann KM‑184 for hi‑hat and another KM‑184 for the ride cymbal, a couple of AKG C414 XLII mics as overheads, and two Neumann U87s for ambience. The toms had Beyerdynamic Opus 87 mics. I would have avoided the Yamaha desk for the recording chains, so the mics would have gone through external mic pres. I most likely would have used API 512C’s for the kick and the snare, and Focusrite ISA 828/430 for the other drum tracks. They would have gone into the Apogee Symphony MkI, and the Avid HD I/O.

The Metropolis gear list specifies the "Avid Pro Tools HDX|1 with Pro Tools Ultimate 2021".

Used for the drum tracks on "Beggin", as described by Alessandro Marcantoni in this October 2021 Sound on Sound interview.

Working from memory, old gear lists and photos, and the track names in his mix session for ‘Beggin’, Marcantoni retraces his steps, both for the recordings and the mixing. “For the kick I would have used a Shure Beta 52A on the inside, a Neumann U47 [FET] on the outside, and a Royer Labs R‑122 placed close to the kick drum pointing to the snare, for a mono drum kit track. On the snare I used a Shure SM57 at the top, and a Shure Beta 57 at the bottom. I duplicated the top snare track to create another effect setting for the rimshots.

“In addition I had one Neumann KM‑184 for hi‑hat and another KM‑184 for the ride cymbal, a couple of AKG C414 XLII mics as overheads, and two Neumann U87s for ambience. The toms had Beyerdynamic Opus 87 mics. I would have avoided the Yamaha desk for the recording chains, so the mics would have gone through external mic pres. I most likely would have used API 512C’s for the kick and the snare, and Focusrite ISA 828/430 for the other drum tracks. They would have gone into the Apogee Symphony MkI, and the Avid HD I/O.

The article includes this photo from "Metropolis Studio in 2017, where Måneskin recorded ‘Beggin’." It shows a MKI.

Used for the drum tracks on "Beggin", as described by Alessandro Marcantoni in this October 2021 Sound on Sound interview.

“The main sonic treatment on the drums came from the aux effects tracks: the Drums Ambient, which had a UAD EMT140 for some plate reverb with a small decay and some predelay, and the Drums Amp, with the SansAmp for parallel distortion. All drums go through the MF Drums group track, which has the UAD SSL G‑channel and Avid EQ3 7‑band, for some compression and minor EQ adjustments.

Used for the drum tracks on "Beggin", as described by Alessandro Marcantoni in this October 2021 Sound on Sound interview.

“The main sonic treatment on the drums came from the aux effects tracks: the Drums Ambient, which had a UAD EMT140 for some plate reverb with a small decay and some predelay, and the Drums Amp, with the SansAmp for parallel distortion. All drums go through the MF Drums group track, which has the UAD SSL G‑channel and Avid EQ3 7‑band, for some compression and minor EQ adjustments.

Used for the drum tracks on "Beggin", as described by Alessandro Marcantoni in this October 2021 Sound on Sound interview.

“The main sonic treatment on the drums came from the aux effects tracks: the Drums Ambient, which had a UAD EMT140 for some plate reverb with a small decay and some predelay, and the Drums Amp, with the SansAmp for parallel distortion. All drums go through the MF Drums group track, which has the UAD SSL G‑channel and Avid EQ3 7‑band, for some compression and minor EQ adjustments.

Used for the drum tracks on "Beggin", as described by Alessandro Marcantoni in this October 2021 Sound on Sound interview.

“The main sonic treatment on the drums came from the aux effects tracks: the Drums Ambient, which had a UAD EMT140 for some plate reverb with a small decay and some predelay, and the Drums Amp, with the SansAmp for parallel distortion. All drums go through the MF Drums group track, which has the UAD SSL G‑channel and Avid EQ3 7‑band, for some compression and minor EQ adjustments.

Used for the vocal tracks on "Beggin", as described by as described by Alessandro Marcantoni in this October 2021 Sound on Sound interview.

“All vocal tracks have the same inserts: Avid EQ3 7‑band, UAD 1176 LN, Mäag EQ4, and again the 7‑band. The main difference is in the plug‑in settings and in the sends. The a cappella at the beginning of the song is sent to the Very Large Hall aux with the Avid ReVibe II, as well as the Hall aux with the UAD Precision Delay Mod, and the V Hall which has another instance of the Lexicon 224. I wanted the a cappella to sound larger than the other vocals, which have only the 224 and a send to the V Slap aux, with a delay from the UAD Galaxy Tape Echo.

“The main vocal tracks also have a send to the V Amp track, on which I had the SansAmp, for some more edge. The singer has a very raspy voice, which I think sounds great, and the SansAmp enhances this. All vocal tracks go to the Group track, on which I have two EQs and the UAD Precision De‑Esser. I use volume automation a lot on individual tracks, so if I use de‑essers on them, it can emphasise the esses. For that reason I prefer to have the de‑esser on the subgroup at the end of the chain. It makes it easier to control things.”

Used for the vocal tracks on "Beggin", as described by as described by Alessandro Marcantoni in this October 2021 Sound on Sound interview.

“All vocal tracks have the same inserts: Avid EQ3 7‑band, UAD 1176 LN, Mäag EQ4, and again the 7‑band. The main difference is in the plug‑in settings and in the sends. The a cappella at the beginning of the song is sent to the Very Large Hall aux with the Avid ReVibe II, as well as the Hall aux with the UAD Precision Delay Mod, and the V Hall which has another instance of the Lexicon 224. I wanted the a cappella to sound larger than the other vocals, which have only the 224 and a send to the V Slap aux, with a delay from the UAD Galaxy Tape Echo.

“The main vocal tracks also have a send to the V Amp track, on which I had the SansAmp, for some more edge. The singer has a very raspy voice, which I think sounds great, and the SansAmp enhances this. All vocal tracks go to the Group track, on which I have two EQs and the UAD Precision De‑Esser. I use volume automation a lot on individual tracks, so if I use de‑essers on them, it can emphasise the esses. For that reason I prefer to have the de‑esser on the subgroup at the end of the chain. It makes it easier to control things.”

Used for the vocal tracks on "Beggin", as described by as described by Alessandro Marcantoni in this October 2021 Sound on Sound interview.

“All vocal tracks have the same inserts: Avid EQ3 7‑band, UAD 1176 LN, Mäag EQ4, and again the 7‑band. The main difference is in the plug‑in settings and in the sends. The a cappella at the beginning of the song is sent to the Very Large Hall aux with the Avid ReVibe II, as well as the Hall aux with the UAD Precision Delay Mod, and the V Hall which has another instance of the Lexicon 224. I wanted the a cappella to sound larger than the other vocals, which have only the 224 and a send to the V Slap aux, with a delay from the UAD Galaxy Tape Echo.

“The main vocal tracks also have a send to the V Amp track, on which I had the SansAmp, for some more edge. The singer has a very raspy voice, which I think sounds great, and the SansAmp enhances this. All vocal tracks go to the Group track, on which I have two EQs and the UAD Precision De‑Esser. I use volume automation a lot on individual tracks, so if I use de‑essers on them, it can emphasise the esses. For that reason I prefer to have the de‑esser on the subgroup at the end of the chain. It makes it easier to control things.”

Used for the vocal tracks on "Beggin", as described by as described by Alessandro Marcantoni in this October 2021 Sound on Sound interview.

“All vocal tracks have the same inserts: Avid EQ3 7‑band, UAD 1176 LN, Mäag EQ4, and again the 7‑band. The main difference is in the plug‑in settings and in the sends. The a cappella at the beginning of the song is sent to the Very Large Hall aux with the Avid ReVibe II, as well as the Hall aux with the UAD Precision Delay Mod, and the V Hall which has another instance of the Lexicon 224. I wanted the a cappella to sound larger than the other vocals, which have only the 224 and a send to the V Slap aux, with a delay from the UAD Galaxy Tape Echo.

“The main vocal tracks also have a send to the V Amp track, on which I had the SansAmp, for some more edge. The singer has a very raspy voice, which I think sounds great, and the SansAmp enhances this. All vocal tracks go to the Group track, on which I have two EQs and the UAD Precision De‑Esser. I use volume automation a lot on individual tracks, so if I use de‑essers on them, it can emphasise the esses. For that reason I prefer to have the de‑esser on the subgroup at the end of the chain. It makes it easier to control things.”

Used for the vocal tracks on "Beggin", as described by as described by Alessandro Marcantoni in this October 2021 Sound on Sound interview.

“All vocal tracks have the same inserts: Avid EQ3 7‑band, UAD 1176 LN, Mäag EQ4, and again the 7‑band. The main difference is in the plug‑in settings and in the sends. The a cappella at the beginning of the song is sent to the Very Large Hall aux with the Avid ReVibe II, as well as the Hall aux with the UAD Precision Delay Mod, and the V Hall which has another instance of the Lexicon 224. I wanted the a cappella to sound larger than the other vocals, which have only the 224 and a send to the V Slap aux, with a delay from the UAD Galaxy Tape Echo.

“The main vocal tracks also have a send to the V Amp track, on which I had the SansAmp, for some more edge. The singer has a very raspy voice, which I think sounds great, and the SansAmp enhances this. All vocal tracks go to the Group track, on which I have two EQs and the UAD Precision De‑Esser. I use volume automation a lot on individual tracks, so if I use de‑essers on them, it can emphasise the esses. For that reason I prefer to have the de‑esser on the subgroup at the end of the chain. It makes it easier to control things.”

Used for the vocal tracks on "Beggin", as described by as described by Alessandro Marcantoni in this October 2021 Sound on Sound interview.

“All vocal tracks have the same inserts: Avid EQ3 7‑band, UAD 1176 LN, Mäag EQ4, and again the 7‑band. The main difference is in the plug‑in settings and in the sends. The a cappella at the beginning of the song is sent to the Very Large Hall aux with the Avid ReVibe II, as well as the Hall aux with the UAD Precision Delay Mod, and the V Hall which has another instance of the Lexicon 224. I wanted the a cappella to sound larger than the other vocals, which have only the 224 and a send to the V Slap aux, with a delay from the UAD Galaxy Tape Echo.

“The main vocal tracks also have a send to the V Amp track, on which I had the SansAmp, for some more edge. The singer has a very raspy voice, which I think sounds great, and the SansAmp enhances this. All vocal tracks go to the Group track, on which I have two EQs and the UAD Precision De‑Esser. I use volume automation a lot on individual tracks, so if I use de‑essers on them, it can emphasise the esses. For that reason I prefer to have the de‑esser on the subgroup at the end of the chain. It makes it easier to control things.”

Used for the vocal tracks on "Beggin", as described by as described by Alessandro Marcantoni in this October 2021 Sound on Sound interview.

“All vocal tracks have the same inserts: Avid EQ3 7‑band, UAD 1176 LN, Mäag EQ4, and again the 7‑band. The main difference is in the plug‑in settings and in the sends. The a cappella at the beginning of the song is sent to the Very Large Hall aux with the Avid ReVibe II, as well as the Hall aux with the UAD Precision Delay Mod, and the V Hall which has another instance of the Lexicon 224. I wanted the a cappella to sound larger than the other vocals, which have only the 224 and a send to the V Slap aux, with a delay from the UAD Galaxy Tape Echo.

“The main vocal tracks also have a send to the V Amp track, on which I had the SansAmp, for some more edge. The singer has a very raspy voice, which I think sounds great, and the SansAmp enhances this. All vocal tracks go to the Group track, on which I have two EQs and the UAD Precision De‑Esser. I use volume automation a lot on individual tracks, so if I use de‑essers on them, it can emphasise the esses. For that reason I prefer to have the de‑esser on the subgroup at the end of the chain. It makes it easier to control things.”

Used for the vocal tracks on "Beggin", as described by as described by Alessandro Marcantoni in this October 2021 Sound on Sound interview.

“All vocal tracks have the same inserts: Avid EQ3 7‑band, UAD 1176 LN, Mäag EQ4, and again the 7‑band. The main difference is in the plug‑in settings and in the sends. The a cappella at the beginning of the song is sent to the Very Large Hall aux with the Avid ReVibe II, as well as the Hall aux with the UAD Precision Delay Mod, and the V Hall which has another instance of the Lexicon 224. I wanted the a cappella to sound larger than the other vocals, which have only the 224 and a send to the V Slap aux, with a delay from the UAD Galaxy Tape Echo.

“The main vocal tracks also have a send to the V Amp track, on which I had the SansAmp, for some more edge. The singer has a very raspy voice, which I think sounds great, and the SansAmp enhances this. All vocal tracks go to the Group track, on which I have two EQs and the UAD Precision De‑Esser. I use volume automation a lot on individual tracks, so if I use de‑essers on them, it can emphasise the esses. For that reason I prefer to have the de‑esser on the subgroup at the end of the chain. It makes it easier to control things.”

Used for the vocal tracks on "Beggin", as described by as described by Alessandro Marcantoni in this October 2021 Sound on Sound interview.

“All vocal tracks have the same inserts: Avid EQ3 7‑band, UAD 1176 LN, Mäag EQ4, and again the 7‑band. The main difference is in the plug‑in settings and in the sends. The a cappella at the beginning of the song is sent to the Very Large Hall aux with the Avid ReVibe II, as well as the Hall aux with the UAD Precision Delay Mod, and the V Hall which has another instance of the Lexicon 224. I wanted the a cappella to sound larger than the other vocals, which have only the 224 and a send to the V Slap aux, with a delay from the UAD Galaxy Tape Echo.

“The main vocal tracks also have a send to the V Amp track, on which I had the SansAmp, for some more edge. The singer has a very raspy voice, which I think sounds great, and the SansAmp enhances this. All vocal tracks go to the Group track, on which I have two EQs and the UAD Precision De‑Esser. I use volume automation a lot on individual tracks, so if I use de‑essers on them, it can emphasise the esses. For that reason I prefer to have the de‑esser on the subgroup at the end of the chain. It makes it easier to control things.”

Used for the guitar tracks on "Beggin", as described by Alessandro Marcantoni in this October 2021 Sound on Sound interview.

“I kept the bass in place with the UAD 1176LN E, and it also has a send to the Room aux, which has a UAD Ocean Way room reverb. I added compression to the guitar tracks with the UAD LA‑2A S, and there are sends to the Hall aux, with a UAD Lexicon 224, on the two main guitar tracks. The two guitar tracks that I pulled out for the B sections have sends to the Hall and to the Chorus aux, which has a UAD Studio D Stereo Chorus.”

Used for the guitar tracks on "Beggin", as described by Alessandro Marcantoni in this October 2021 Sound on Sound interview.

“I kept the bass in place with the UAD 1176LN E, and it also has a send to the Room aux, which has a UAD Ocean Way room reverb. I added compression to the guitar tracks with the UAD LA‑2A S, and there are sends to the Hall aux, with a UAD Lexicon 224, on the two main guitar tracks. The two guitar tracks that I pulled out for the B sections have sends to the Hall and to the Chorus aux, which has a UAD Studio D Stereo Chorus.”

Used for the guitar tracks on "Beggin", as described by Alessandro Marcantoni in this October 2021 Sound on Sound interview.

“I kept the bass in place with the UAD 1176LN E, and it also has a send to the Room aux, which has a UAD Ocean Way room reverb. I added compression to the guitar tracks with the UAD LA‑2A S, and there are sends to the Hall aux, with a UAD Lexicon 224, on the two main guitar tracks. The two guitar tracks that I pulled out for the B sections have sends to the Hall and to the Chorus aux, which has a UAD Studio D Stereo Chorus.”

The 1176LN Rev E plugin was used for the bass track on "Beggin", as described by Alessandro Marcantoni in this October 2021 Sound on Sound interview.

“I kept the bass in place with the UAD 1176LN E, and it also has a send to the Room aux, which has a UAD Ocean Way room reverb. I added compression to the guitar tracks with the UAD LA‑2A S, and there are sends to the Hall aux, with a UAD Lexicon 224, on the two main guitar tracks. The two guitar tracks that I pulled out for the B sections have sends to the Hall and to the Chorus aux, which has a UAD Studio D Stereo Chorus.”

Used for the bass track on "Beggin", as described by Alessandro Marcantoni in this October 2021 Sound on Sound interview.

“I kept the bass in place with the UAD 1176LN E, and it also has a send to the Room aux, which has a UAD Ocean Way room reverb. I added compression to the guitar tracks with the UAD LA‑2A S, and there are sends to the Hall aux, with a UAD Lexicon 224, on the two main guitar tracks. The two guitar tracks that I pulled out for the B sections have sends to the Hall and to the Chorus aux, which has a UAD Studio D Stereo Chorus.”