Here's a page just for gear heads and curious fans. Want to know what
instruments were used to record Paper Cuts? Well, you've come to the
right place. We'll break these down by performer.
keyboards: Originally, I was using the Korg Karma for everything, but midway
through recording, I switched to an all soft-synth setup. For the later
tracks, I used an M-Audio Radium61 MIDI controller connected to my Windows XP
laptop, running Brainspawn's forte software.
soft synths: Edirol Super Quartet, Triangle II, daOrgan, Edirol Virtual Sound
harmonica: I've had this G-major harmonica for about 20 years, and so I
decided to finally use it on "Paper Cuts."
Bolivian recorder: I bought this thing online a couple years ago.
It's handmade wooden flute or recorder painted very colorfully. After
teaching myself how to play it, it unfortunately appears on only one recording,
although I may explore the instrument further on a future CD.
Scott exclusively uses a Shure SM-58S microphone, both in the studio and
when performing live.
Byron used the following gear to record the tracks on "Paper Cuts":
- 17" x 22" Sonor Performer Kick drum in red lacquer.
- 12" x 14" Sonor Performer tom in red lacquer, with RIMS floor tom legs.
10" x 12" Sonorlite tom in creme lacquer, black RIMS mount. 5" x 14" Pearl
Sensitone brass snare drum. Hardware from Pearl, Premier, Tama, DW and Sonor.
- 14" Paiste Innovations Power hihats.
- 14" old Zildjian A hihats.
- 18" Paiste Alpha crash cymbal.
- 20" Paiste Rude Chinese cymbal.
- 20" Paiste Signature dark dry crash/ride.
- 22" Zildjian A crash/ride.
- Pairs of Zildjian 5A nylon tipped and Regal 2B wood tipped sticks.
- Tube bass
- Plastic slide whistle, the Fyodor model.
When performing live in a small space, Byron uses the following:
- The tube bass.
- 17" x 16" Sonorlite floor tom in creme lacquer.
- 5" x 10" Tama soprano snare.
- Hardware from Rogers and DW.
- 8" Zildjian K splash cymbal.
- 18" Super sizzle cymbal, 6 rivets (A model I'm considering endorsing.
Have the Super people call my people).
- Plastic slide whistle, the Fyodor model.
- Potato shaped shaker.
- Bannana shaped shaker.
- Set of cheap jungle bells from craft store.
- Rhythm tech tambourine.
- Anon cowbell.
- Single Atlanta Pro Percussion 5A wood tip stick.
- Single Promuco "Simon Kirke" signature wood tip stick.
- Single Mainline synthetic 5A "wood" tip stick.
- Pair of ProMark 5A wood tip sticks, with surgical tubing "covers" over
the tips. Pair of Great Dane fiberglass handled yarn mallets. Pair of Johnny
Rabb rhythm saws sticks. Pair of Regal wire brushes, non-retractable. Pair
of Regal nylon brushes, non-retractable. Pair of Blasticks, plastic handles.
Old lathed chair leg.
- Rubbermaid Roughneck box.
Gene Sobczak used a Guild B301F fretless bass guitar - autographed by John
Entwistle! - through a host of custom amplifier-cabinet settings created on a
Line 6 Bass Pod Pro. When dared, Gene also will play a Fodera Monarch
four-string bass guitar (constructed especially for the Court Jester of
Darkness by Brooklyn's finest luthiers), a Carruthers SUB-1 electric upright
bass (modified for said demon clown by Venice, California's finest luthier),
and a piece-of-shit Rythmline hollow-body electric bass guitar that he
purchased from a family member in 1976 for $40.
When performing live, Gene uses a Fender Bassman 400 and Advil.
- 1978 Guild B-302
- SWR basic black amplifier
Tracks 1, 2, 4, and 5 were recorded at Byron's place on Ampex 456 1" magnetic tape, using a Tascam MS-16.
Byron mixed those tracks on his Soundcraft 600 console into Todd's old computer, now
sporting a MOTU 1224 converter. Effects were all hardware, but too numerous to mention/recall
Tracks 7, 8, 9, and 12 were originally recorded at Byron's place on ADAT at
16 bit 48kHz. Todd pulled the individual tracks into his laptop through
a Layla24, did some overdubs, and mixed everything using Cakewalk SONAR 2.2.
Effects were mostly DX plug-ins from Sony, Sonic Foundry, Cakewalk, and
Tracks 3, 6, 10, 11, were assembled and/or recorded at Todd's place direct
to hard disk through the Layla24 at 24bit 44.1kHz, again using Cakewalk SONAR
2.2, with a variety of DX plug-ins.
Once everything was mixed down to digital, Todd did all the WAV file cropping, fades,
final compression, and EQ in Sound Forge 5.0 and 7.0. Then he assembled
everything and sweetened some of the tracks a little more as needed in CD