Caleb Followill

Used for the vocals on Only by the Night, as mentioned producer Jacquire King in this December 2008 Sound on Sound interview.

"Caleb's vocals were recorded with a Shure SM57 going through a Chandler TG2 mic pre, a Neve 1073 EQ, an LA2A compressor, and I also had a Dbx 902 de–esser on them."

The following is the subsequent signal chain for the vocals of "Sex on Fire":

• Vocals: Sound Toys Echoboy, Audio Ease Altiverb, Massenburg DesignWorks EQ, Neve 1099, Urei 1176, Dbx 902, Dolby A encoder, Teletronix LA3A

"I had a Sound Toys Echoboy delay and an Altiverb reverb, set to the EMT 140 plate, on the vocals. In fact, there are two or three delays and two or three reverbs in total, different amounts in different sections of the song. I had a Massenburg plug–in EQ on the vocal bus, and underneath it you can see my insert signal chain: Neve 1099 EQ/Urei Blue Stripe 1176/Dbx 902 de–esser. I pre-mix in my computer and things are coming out in stems, and going out into the desk and the Folcrom mixer for mixdown to stereo. The 1099/1176/902 were inserted in the analogue realm and daisy-chained. There's also a distant lead double in the chorus. I call that a performed effect. Instead of using a delay and modulation to get something in the background, you record a second performance in a different space and with a different microphone. You get something more deliberate and unique that way. Finally, once it came to summing, I also added some Dolby A to the vocals, which gives an excited high-frequency sound that I sent through an LA3A and blended back in."

Used for the vocals on Only by the Night, as mentioned producer Jacquire King in this December 2008 Sound on Sound interview.

"Caleb's vocals were recorded with a Shure SM57 going through a Chandler TG2 mic pre, a Neve 1073 EQ, an LA2A compressor, and I also had a Dbx 902 de–esser on them."

The equipment list for Blackbird Studio's Studio D specifies a standard TG2.

Used "occasionally" for the electric guitar on Only by the Night, as stated by 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."

Used for "synth-like reverb" of the electric guitar on Only by the Night, as stated by 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."

Used for the vocals and electric guitar on "Sex on Fire", as stated by Only by the Night producer Jacquire King in this December 2008 Sound on Sound interview. An image for the vocal settings can be found here.

• Vocals: Sound Toys Echoboy, Audio Ease Altiverb, Massenburg DesignWorks EQ, Neve 1099, Urei 1176, Dbx 902, Dolby A encoder, Teletronix LA3A

"I had a Sound Toys Echoboy delay and an Altiverb reverb, set to the EMT 140 plate, on the vocals. In fact, there are two or three delays and two or three reverbs in total, different amounts in different sections of the song. I had a Massenburg plug–in EQ on the vocal bus, and underneath it you can see my insert signal chain: Neve 1099 EQ/Urei Blue Stripe 1176/Dbx 902 de–esser. I pre-mix in my computer and things are coming out in stems, and going out into the desk and the Folcrom mixer for mixdown to stereo. The 1099/1176/902 were inserted in the analogue realm and daisy-chained. There's also a distant lead double in the chorus. I call that a performed effect. Instead of using a delay and modulation to get something in the background, you record a second performance in a different space and with a different microphone. You get something more deliberate and unique that way. Finally, once it came to summing, I also added some Dolby A to the vocals, which gives an excited high-frequency sound that I sent through an LA3A and blended back in."

(...) 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."

Used for the vocals and electric guitar on "Sex on Fire", as stated by Only by the Night producer Jacquire King in this December 2008 Sound on Sound interview. An image of the settings for the "vocal buss" can be found here.

• Vocals: Sound Toys Echoboy, Audio Ease Altiverb, Massenburg DesignWorks EQ, Neve 1099, Urei 1176, Dbx 902, Dolby A encoder, Teletronix LA3A

"I had a Sound Toys Echoboy delay and an Altiverb reverb, set to the EMT 140 plate, on the vocals. In fact, there are two or three delays and two or three reverbs in total, different amounts in different sections of the song. I had a Massenburg plug–in EQ on the vocal bus, and underneath it you can see my insert signal chain: Neve 1099 EQ/Urei Blue Stripe 1176/Dbx 902 de–esser. I pre-mix in my computer and things are coming out in stems, and going out into the desk and the Folcrom mixer for mixdown to stereo. The 1099/1176/902 were inserted in the analogue realm and daisy-chained. There's also a distant lead double in the chorus. I call that a performed effect. Instead of using a delay and modulation to get something in the background, you record a second performance in a different space and with a different microphone. You get something more deliberate and unique that way. Finally, once it came to summing, I also added some Dolby A to the vocals, which gives an excited high-frequency sound that I sent through an LA3A and blended back in."

(...) 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."

Used for the vocals on "Sex on Fire", as stated by Only by the Night producer Jacquire King in this December 2008 Sound on Sound interview. An image of the item can be found here.

• Vocals: Sound Toys Echoboy, Audio Ease Altiverb, Massenburg DesignWorks EQ, Neve 1099, Urei 1176, Dbx 902, Dolby A encoder, Teletronix LA3A

"I had a Sound Toys Echoboy delay and an Altiverb reverb, set to the EMT 140 plate, on the vocals. In fact, there are two or three delays and two or three reverbs in total, different amounts in different sections of the song. I had a Massenburg plug–in EQ on the vocal bus, and underneath it you can see my insert signal chain: Neve 1099 EQ/Urei Blue Stripe 1176/Dbx 902 de–esser. I pre-mix in my computer and things are coming out in stems, and going out into the desk and the Folcrom mixer for mixdown to stereo. The 1099/1176/902 were inserted in the analogue realm and daisy-chained. There's also a distant lead double in the chorus. I call that a performed effect. Instead of using a delay and modulation to get something in the background, you record a second performance in a different space and with a different microphone. You get something more deliberate and unique that way. Finally, once it came to summing, I also added some Dolby A to the vocals, which gives an excited high-frequency sound that I sent through an LA3A and blended back in."

Used for the vocals on "Sex on Fire", as stated by Only by the Night producer Jacquire King in this December 2008 Sound on Sound interview. An image of the item can be found here.

• Vocals: Sound Toys Echoboy, Audio Ease Altiverb, Massenburg DesignWorks EQ, Neve 1099, Urei 1176, Dbx 902, Dolby A encoder, Teletronix LA3A

"I had a Sound Toys Echoboy delay and an Altiverb reverb, set to the EMT 140 plate, on the vocals. In fact, there are two or three delays and two or three reverbs in total, different amounts in different sections of the song. I had a Massenburg plug–in EQ on the vocal bus, and underneath it you can see my insert signal chain: Neve 1099 EQ/Urei Blue Stripe 1176/Dbx 902 de–esser. I pre-mix in my computer and things are coming out in stems, and going out into the desk and the Folcrom mixer for mixdown to stereo. The 1099/1176/902 were inserted in the analogue realm and daisy-chained. There's also a distant lead double in the chorus. I call that a performed effect. Instead of using a delay and modulation to get something in the background, you record a second performance in a different space and with a different microphone. You get something more deliberate and unique that way. Finally, once it came to summing, I also added some Dolby A to the vocals, which gives an excited high-frequency sound that I sent through an LA3A and blended back in."

Used for the vocals on Because of the Times, as stated in this July 1, 2007 Sound on Sound interview with producer Ethan Johns.

Johns used the modified Trident to track and mix. He recorded to a Studer 24-track aligned at +6 for 499 running at 30 ips, and mixed to a Studer 2-track. He went with Helios mic pre's and Fairchild compression for the guitars, EMI mic pre's for the drums and Universal Audio 610 pre's for the bass mic (a Neumann U67) and the vocals.

In this rig rundown of Caleb Followill's new pedal board and rack, the RJM Mastermind GT-16 can be seen at the 1:11 mark.

In the Premier Guitar video titled "Kings of Leon Live Rig (Caleb Followill) Explained by Builder Barry O'Neal of Xact Tone Solutions," the MXR M234 Analog Chorus is clearly visible on the top shelf of Caleb Followill's rack at the 1:53 mark.

In the Premier Guitar video titled "Kings of Leon Live Rig (Caleb Followill) Explained by Builder Barry O'Neal of Xact Tone Solutions," the Visual Sound GarageTone Axle Grease Delay is clearly visible on the top shelf of Caleb Followill's rack at the 1:53 mark.

At the 2:28 mark of Caleb Followill's new rig rundown, the Boss RV-5 can be seen on the second shelf of his new rack.

In a rig rundown video by Premier Guitar, featuring builder Barry O'Neal of Xact Tone Solutions, it is confirmed at the 2:38 mark that Caleb Followill's pedal setup includes the Radial Engineering JX44 Air Control Guitar Signal Manager.