Used on "Sex on Fire", as stated by *Only by the Night* producer Jacquire King in this December 2008 *Sound on Sound* interview. > * **Bass:** AMS delay, Sound Toys Echoboy, Empirical Labs Distressor, Chandler TG1, Dbx Disco Boombox > "On the Mix window screen you can see that there are bass DI, bass amp, bass AMS and bass delay tracks. The AMS is a delay that I applied at Blackbird and that I then printed to Pro Tools. The delay is the Echoboy delay, which I added during mixing. The idea was to get a different texture than I could with the AMS delay. Both delays had different delay times, different qualities of sound, and different feedback and modulation effects, and the idea was to spread them out and fatten up the sound, give it some space without putting a reverb or something poky–sounding on it. By spreading the bass out a bit you also make it sound bigger. In addition, there's some Distressor and TG1 compression and some EQ on the bass, as well as some more subharmonic synthesis, again using the DBX Disco Boombox. I have a slightly more modern version of the box." The item can be seen in [this image](https://dt7v1i9vyp3mf.cloudfront.net/styles/news_large/s3/imagelibrary/I/IT_King_05-9J8VlDNthEe.c4maMNnPBvIm8BjOfmvj.jpg) from the same interview.more
Used on "Sex on Fire", as stated by *Only by the Night* producer Jacquire King in this December 2008 *Sound on Sound* interview. > * **Drums:** Massenburg DesignWorks EQ, Bomb Factory BF76, Digidesign Lo–fi, Quad 8 EQ, Chandler TG1, Sontec EQ, Audio Ease Altiverb > "I cut the kick around 255Hz to get rid of some honkiness, and added some 11k on the snare, both with the Massenburg DesignWorks. I also cut a tiny bit around 263Hz on the overheads, and sent them through a Bomb Factory BF76, which is a plug–in version of the 1176, just to control the snare transients a little bit in the overhead picture. I also EQed the toms to roll back some of the tubbiness on them. There's a Lo–fi plug-in on Room 1, to take the cymbal wash down and dirty it up; when you reduce the sample rate and bit depth you also lose high frequencies. I cut everything below 206Hz with the Massenburg on the Simmons drums to clean up any unwanted frequencies. For the rest, there's nothing dramatic on the drums, just some specific shaping with digital EQs and opening up the top and bottom with outboard or the Quad 8 EQ. All the drums were bussed and sent to an outboard compressor, the Chandler TG1, for parallel bus compression. I also had a Sontec EQ on the drum bus. The Altiverb works primarily on the snare, kick and toms, just to give them a little bit more space. I set it to a room at Ocean Way Studios, so it's not a big splashy reverb." The item can be seen in [this photo](https://dt7v1i9vyp3mf.cloudfront.net/styles/news_large/s3/imagelibrary/I/IT_King_05-9J8VlDNthEe.c4maMNnPBvIm8BjOfmvj.jpg) from the same interview. > This rack houses most of the outboard processors used on the mix of 'Sex On Fire', including the Sontec EQ, Neve 1099, 'blue stripe' Urei 1176, Teletronix LA3A, Empirical Labs Distressor, Dbx 902, Chandler TG1 and Dolby A encoders.more
Used on "Icky Thump", as stated by recording and mixing engineer Joe Chiccarelli in this October 2007 *Sound on Sound* interview. > * Drums: Neve 8078 EQ, APSI EQ, Chandler TG1, API 2500, Chandler Zener Limiter and Curve Bender EQ > “The moment I heard Meg play that drum beat during tracking I knew that this song would call for a big, heavy drum sound, so I had to scramble to get the drums sounding as big as possible. I might have added some low end, perhaps 80Hz, to the kick, some mid around 4k to the snare, and some air, 15k or so, to the overheads. Adding 4k gave the snare some more crack and made it cut through better. I also used an old APSI graphic EQ on the kick drum — settings -2 at 35Hz, +2 at 75, and +4 at 3.5k. APSI was a ’70s offspring from API. I may also have added some bottom to the overheads with a Chandler Curve Bender, which has great low end. I loved it so much, I ended up buying one. In terms of the mix, in most cases the room microphones were not really processed. > “As far as compression is concerned, I applied a couple of drum submix compressors, probably API 2500 and Chandler Zener. On other songs I also sometimes used the SPL Transient Designer and sometimes an [Empirical Labs] Distressor. I set the API to fast attack and fast release, to get a bit of a pop to the snare, and blended that back in with the original. The Chandler has more of a round, warm, vintage sound. I set it to heavy limiting with a fast release, and blended that in to give the drums more character. I would say that the compressors were used on this album to make a statement, so I wasn’t shy of using extreme settings. I also may have sent the snare via loudspeakers to Studio A’s live room and blended that in to give more ambience.”more
Very hands on limiter from the Abbey Road limited edition. If you want a Queen/Beatles type drum or guitar feel, this does that exactly. If you just want to drive up a sound you can bypass the comp/limiting section altogether and select 'THD' so the box will turn into a harmonic distortion box. Handy if your plugins sound too digital... It does what it promises and surprises you if you crank it up.