Matthew Followill

Used for the 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

"Using a guitar amp, I added a short slap delay on Matt's guitars. 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 Altiverb on Matt's guitar is a very small room at Cello Studios, for a little bit more space."

Used for the electric guitar on "Sex on Fire", as stated by Only by the Night producer Jacquire King in this December 2008 Sound on Sound interview. The 6 XL is specified by images of the settings for the vocals and the settings for the drums.

"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

"Using a guitar amp, I added a short slap delay on Matt's guitars. 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 Altiverb on Matt's guitar is a very small room at Cello Studios, for a little bit more space."