For the recording of their fourth album Only By The Night, Kings Of Leon and co—producer Jacquire King decided to aim high. I typically start with the drums, because they have the most elements that need bringing together. Because the delay is so short, it also gives a chorus—filter like effect. Angelo and I would listen to the guitar parts and mix and match amplifiers. For more of the freshest sounds, exclusive , dope , and everything electronic music, stop depriving your ears and today.
It wasn't finished, so I had to program it so it extended until the end of the song. Making records with your eyes, as is a danger with Pro Tools, is a really poor approach. I don't mind spill and bleed, because it gives you a very nice texture and a depth of sonic quality, but our main goals on the new record were to spend more time on the production and on Caleb's vocals. Finally, loading things into Pro Tools allowed me to get away from that analogue treated sound. I'll go to the bass next, and once I have the bass and drums roughed in, I'll push up the vocal, and only after that the other elements in the song. If you leave stuff you record with too many options, you never really have a sense of where you're headed. Caleb would get out an acoustic or electric guitar and would show us some ideas that he had, including 'Sex On Fire'.
After that I try to move very fast through the beginning stage and get the vocals in as early as possible. The guys had made other records in a more simplified approach that moved faster. Grammy Award—winning King has also worked with Tom Waits, Buddy Guy, Modest Mouse and Josh Ritter, and, like the band, makes his home in Nashville, Tennessee. All the other vocals were overdubbed. And when you are rolling back the tape, or changing a reel, it allows for a moment of conversation and reflection. I like to be able to use analogue outboard gear.
King of Leon - Notion 13. Kings of Leon - Cold Desert 14. We took our time, and at Blackbird we had the best gear in the world at our disposal. I also used an Echoboy for delay on certain sections, like in the choruses. Only By The Night has been Kings Of Leon's first hit album in their native America, but is their fourth overall.
Kings of Leon - Be Somebody 10. Author Wes Ogden Whether I'm playing, listening, or dancing to music - that's typically how you'll find me. With Blackbird owning a staggering 1300 microphones, along with a wide range of vintage preamps and outboard gear, King certainly wasn't short of recording options. Kings of Leon - Crawl 11. 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.
So I had a general layout in the room, which would change from song to song, depending on what was most appropriate for the sound. King of Leon - Sex on Fire mp3. He typically sang each song two, three or four times, and then we'd either make a composite of the different takes, or just used a complete take. It gives a nice early reflection type of texture. I prefer to use things like guitars for the outer edges.
I set these effects up on a separate channel on the desk, but didn't record them to the 16—track. Always searching for that perfect sound. It was a very fast and trimmed—down recording process. I want to respect what they did and enhance that. For 'Sex On Fire' I worked like this, starting with drums, then bass, then bringing the vocals in, followed by guitars. Sometimes we'd put reverb on one amp and a delay on another, or effect pedals on both. I don't feel that way.
I also overdubbed an old Simmons snare drum in the choruses. King of Leon - Rock City 14. I would then bus different combinations to the two room tracks, depending on the song. King of Leon - Sex on Fire 2. I used a separate Pro Tools rig, so I'm not tied into whatever sample rate I have in my first Pro Tools rig — 88. The latter is something made by Urei. King of Leon - Wait for Me 5.
King of Leon - Revelry 11. I cut everything below 206Hz with the Massenburg on the Simmons drums to clean up any unwanted frequencies. We were still looking for that, but we also wanted broader textures and more layering of sounds. My feeling is that the drums should be more centred in the stereo spectrum. I know what the artist wants and I typically record things as I want them to sound. His approach was to set up many different microphones in the room, and then choose the mics and signal paths that were most appropriate to a particular song. Embarrassed about the explicit sexual nature of the lyrics, he needed some coaxing to convince him that the song was worth doing, and even during the recording sessions the following Spring, more arm—twisting was required to get the singer to overdub his vocals.