Used for Followill's electric guitar on "Sex on Fire", as stated by *Only by the Night* producer Jacquire King in this December 2008 *Sound on Sound* interview. > "We had five or six guitar amplifiers available for each guitar, and again, we picked the ones that were most appropriate for the song. Angelo and I would listen to the guitar parts and mix and match amplifiers. Sometimes we'd put reverb on one amp and a delay on another, or effect pedals on both. We had all kinds of combinations, although we kept it to two amplifiers per performance for each player. I'd put an SM57 in front of one amp and a U67 in front of the other. The guitars went through API mic pres, an API 550A EQ, and I also used some APSI parametric EQs. Occasionally I'd put an 1176 in the signal chain, but in general I don't use much compression on distorted electric guitars going to tape, because there's not a lot of dynamic range to them as it is. The synth–like reverb you can hear on the guitar was done at Blackbird on an Eventide DSP4000 and added during the transfer to Pro Tools. > (...) **Guitars: **Massenburg DesignWorks EQ, Sound Toys Echoboy, Cooper Time Cube, Digidesign delay, Audio Ease Altiverb > (...) "I also used an Echoboy for delay on certain sections, like in the choruses. There was a little bit of bus compression on the guitars and a little bit of EQ, all very minor stuff, because I had already recorded what I wanted. The only radical EQ is on the Cooper Time Cube delay, which I described above, and which I applied to Caleb's guitar. I took out everything below 861Hz to get rid of the darker tone that was obscuring the source tone a bit. There's also a bit of Digirack delay on Caleb's guitar, to give it a bit more dimension by panning it to the other side than the track itself."more
Used on the bass for "Sex on Fire", stated by *Only by the Night* producer Jacques King in this December 2008 *Sound on Sound* interview. > "I also put an AMS delay and a Cooper Time Cube on the bass, just to give it a little bit more ambience. The latter is something made by Urei. It's a tiny box with a speaker at one end and a mic at the other, and you get 11–14 milliseconds of weird, hollow, echoey delay/reverb. It gives a nice early reflection type of texture. Because the delay is so short, it also gives a chorus–filter like effect." King also mentions the Time Cube in [this interview with Universal Audio](https://www.uaudio.com/blog/jacquire-king-ua-interview/). > What's really exciting about the UA stuff is, for instance, I hadn't used the UA plug-ins when I was making the [Kings of Leon] *Only by the Night* record, but I was using a Cooper Time Cube. When I'm in those situations, I get something set up on the console, and then when I do my transfer from the 2", I also transfer the effects that I've set up. Like if I put a [Cooper Time Cube](https://web.archive.org/web/20111008185140/https://www.uaudio.com/store/chorus-delays/cooper-time-cube.html) on a guitar track, I'll transfer that in. For the last couple of records, these plug-ins are so good that now I don't have to have those things either rented, or set up, and printed in. I'm using the plug-in.more
> Vocal ad libs, backing & outro: Antares Auto–Tune EFX, Auto–Tune Live & Harmony Engine, FabFilter Pro–DS, Pro–G, Pro–Q2, Volcano & Timeless 2, Waves Vocal Rider, & H–Delay, UAD API 560, 1176, EP34, Pultec EQ, Teletronix LA2A, MXR Flanger & Cooper Time Cube, SoundToys MicroShift, Audio Ease Altiverb.more
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