Dead Elephants

Dead Elephants are a three-piece Noise Rock band from Manchester, each bringing their vastly differing musical tastes into one centralised concoction of sonic entropy.

Currently the 3 track EP is going through the mixing process, however my involvement has been from the beginning, starting of course with the capture of each instrument.

As a whole, I wanted Dead Elephants to be conveyed as a three piece, rather than a three piece with limitless track counts in the studio. This was more aimed towards guitars, so there wouldn't be a constant droning rhythm section, double tracked, and sat between everything; if the guitarist was going to play a lead part, the rhythms would of course stop. This was decided after seeing them perform a few times live, as well as visiting them at their rehearsal space.

When recording drums, I wanted to capture an honest representation of the kit and the space it was in, focusing primarily on the microphones and their positioning. I am very fond of the capture of the 2 drum kits in the song People by Gnod (listen below), recorded and mixed by Karl Sveinsson at 80 Hertz

I had a chat with Karl and he kindly gave me a few pointers before the drum session.

I also follow recording and mixing engineer, Sylvia Massy, quite closely and enjoy reading about some of her unconventional recording techniques. 1 technique that I used, which may not be so unconventional today, is using a 15 inch bass driver cone as a sub kick microphone, kindly lent to me by recording and mixing engineer, Rian Gamble. Due to its shear size and weight, it took some counterweighting to keep the snare stand from toppling over.

Recording bass followed the same ethos, with coherency of capture with the kick drum in mind. The bassist runs a Sunn Beta Bass head into a Matamp 6x10; it definitely moves some air.

Capturing guitars involved a stereo rig with a Hiwatt DR103 head running into a Marshall 1960 4x12, and a Fender Deluxe Reverb combo.

Vocals didn't involve anything more than a good pair of lungs, until the bassist brought in his megaphone.

(The following excerpts are unfinished and still require some prodding in the mix, followed by mastering.)


© 2019 Tavish Cross

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