I thought it would be fun to break down some of what it took to write, record, and mix/master the Nightmares of The Sun album Sol. If you haven’t had a listen then you can find it on Bandcamp or Spotify or somewhere else. As this was the 1st album I tackled from start to finish all on my own I definitely learnt a few things along the way which I’ll share here too.

Guitars

From the start (circa 2013) of this project I wanted to write an 8 string guitar focused record, so for that I started with the only 8 string I had at the time, a Schecter Helraiser C-8. This was one of the original prototype models from around 2009 which differs from current versions as it has a 26.5” scale. While all the demos were written on this guitar, very few of the parts made it to the final record.

In preparation for tracking this album I got what is now my no. 1 8 string the Aristides 080s loaded with Bare Knuckle Pickups Aristides Customs. This is a phenomenal guitar to play, and I really admire the company and the guitars they produce. I used this guitar to track every rhythm guitar part, a few of the clean guitars and most of the more metal solos. There really isn’t much this guitar can’t do

But, I also really wanted the retro prog vibe on this album, so I turned to another of my favourite instruments, my Fender Offset Telecaster. I used this on some of the clean parts as well as a number of the solos (e.g. the outro to Approach of The Epoch and I Don’t Think I Am Me, Anymore). I have really taken to the telecaster recently and found some other uses, especially mixing it in as a 3rd rhythm track to add some extra bite to a riff.

I also had a few acoustic parts where I used a Fender Vince Ray Outer Space Acoustic. Since I didn’t have a studio at any point to actually mic this up I used the onboard pickup. I also used a Lanikai concert ukulele for a small part just so that I can say there is a ukulele on a metal track! The intro to Omicron Ceti V was recorded on an Ibanez AM93 Semi Hollow which is used while demoing/writing the song and decided to leave it in as it just fit so perfectly.

For the bass I wanted to take the approach Nolly from Periphery does by having it tuned an octave below the guitars even when playing with 8 strings. The only logical way to do this was to get Nolly's signature Dingwall NG-2 5 string. This is a great instrument and well worth the investment.

Guitar Set-up

The whole album is tuned to a standard 8 string tuning - F# B E A D G B E

Except ...But They Shall Be The Terrors of The Earth which drops the 8th string to E

Strings used were D’Addario NYXL 9-46 for the 6 strings with added .056 for 7th and .074 for 8th

For bass the Dingwall was tuned - F# B E A D

Strings used were Kalium Strings BH-174-5TM which are: .057, .076, .098, .130, .174

The bass was not dropped for ...But They Shall Be The Terrors of The Earth, instead I tracked the bass in the same register as the guitars and made up for the low end with synths/strings.

Amp Tones - Guitar

As this album was completely done at home I had no scope for recording through real amp cabs, but I’m really happy with the result I got with a combination of modelling, plugins and a load box.

The main rhythm tone was recorded though an Axe FX II with the amp based on a Mesa Dual Rectifier red channel in modern mode and a T808 OD in front into a Mesa 4x12 thanks to the ML USA Djent Cab Pack (Misha Mix 2). I tried a lot of different combinations before landing on this. The biggest challenge being getting something that sounded good with the low F# string.

Some of the additional heavy guitar parts I used a Marshall JCM 2000 with a Fortin Grind in front into a Two Notes Torpedo Captor loadbox and then ran back into the Axe FX II for the cab modelling.

For the leads I ran a Horizon Devices Precision Drive into a Revv G4 (or Revv G3 for some) into the power amp of a KranK Rev 1 and into the Axe FX II. I also used a Digitech FreQout feedback pedal for a few solos/melodies. I also used Positive Grid Bias FX for some leads, mostly based on the Tosin Abasi lead preset (I think from an expansion I had got at some point). Finally, I dialled in some tones directly in the Axe FX II using various amps for the odd part.

The cleans are either with the Axe FX II, run into an Ibanez TSA5TVR Tube Screamer amp into the Torpedo Captor and back into the Axe FX II, or using Bias FX plugin.

Amp Tones - Bass

To get the big low end sound I knew I needed a dual signal path for the bass, especially since it’s tuned so low.

For the clean signal I ran into the Axe FX II and directly into the MD421 A1 cab from the ML USA Bass Cab Pack (I initially didn’t realise I had the amp block disabled, but ended up liking the tone so didn’t bother re-amping with the amp block on).

To get the more ballsy sound I ran into a Darkglass Alpha/Omega pedal and then into the Bass Mix 1 cab from the same pack.

Drums

When writing the drum parts I used Superior Drummer 2.0 & EZDrummer 2.0, but upgraded to Superior Drummer 3.0 before drum editing and for the final mix. I ended up using a modified version of the Modern Metal Dark mix preset. I also used a lot of the Toontrack MIDI Packs while writing but ended up customising most of them by hand to get them to the final product.

I wanted to incorporate some more electronic elements into this record, so for a few of the tracks I also used a 909 drum machine in Battery 4.

Finally, for a small part I also used the Post Rock EZX

Software Instruments

I used a Komplete Kontrol S49 midi controller keyboard to record in all the software instrument parts, relying heavily on Native Instruments Komplete for all my sounds. Since I’m a big Opeth fan, the 1st software instrument I bought was the M-Tron Pro as I wanted to put Mellotron on everything. In the end, I only used it on a few tracks.

Komplete 10
- Retro Machines
- Kontact
- Absynth
- Alicias Keys
- Action Strings
- Kinetic Treats
- The Grandeur
M-Tron Pro
Toontrack EZKeys
- Retro Keys

The Studio

The album was recorded in my home studio

Computer - MacBook Pro 2016 (15”, 2.6GHz i7, 16GB)
Audio Interface - Focusrite Clarett 4Pre (This is the firewire 2 version)
Studio Speakers - Fostex PM-1
Headphones
- Beyerdynamic DT 990 PRO (mixing)
- Shure SRH940 (tracking)

Signal chain

Guitar
- Radial J48 Active DI
  - Clarett 4Pre (xlr line in - DI for re-amping)
  - Axe FX
    - Clarett 4Pre (coax digital)

Mixing & Mastering Plugins

I really like the iZotope plugins, especially the fact they interact with each other so well. I find the Tonal Balance Control that comes with Ozone Advanced as indispensable in achieving a well balanced mix.

Waves SSLComp
iZotope DDLY
iZotope Trash 2
iZotope Neutron
iZotope Ozone Advanced

I also used a number of the plugins that come with Pro Tools.

And that’s about it, any other questions hit me up on Twitter @_lukejmusic or shoot me a message via the contact page. I hope people found this interesting. You can check out my current studio setup here.