Sad But True
Metallica, Black Album(1991)
Guitarist: James Hetfield (rhythm part only)
- Aphex Cx 1 Compressor Expander Tool
- Aphex Cx 1 Compressor Expander Valve
- Aphex Cx 1 Compressor Expander Cylinder
- Aphex Cx 1 Compressor Expander Kit
What's genuinely sad but true is that you'll need to spend a fortune if you want to duplicate James Hetfield's monstrous rhythm guitar tone on this track with a rig identical to what he originally used. And that doesn't even include the studio, its equipment and the prodigious talents of producer Bob Rock and engineers Randy Staub and Mike Tacci. Here we can cover only about 60 percent of what went into crafting Hetfield's sound, and even then we need to speculate, as the details still remain closely guarded secrets.
Hetfield's rhythm guitar part is composed of numerous layers of tracks recorded through different amps and cabinets (including overdubs of individual amps dialed to different tones), various mics in different positions and outboard equalization and compression. The core of Hetfield's sound is a mid-Eighties Mesa/Boogie Mark IIC++ (the extra plus denotes a Mesa modification), most likely with a pair of Aphex EQF-2 EQs and an Aphex CX-1 Compressor/Expander in the effects loop. The Mesa's five-band graphic EQ—in a scooped mid 'V' configuration—plays a key role, but the Aphex EQs further sculpt the tone, particularly by cutting 1.2kHz (this frequency cut was also the secret to Dimebag Darrell's rhythm tone). Marshall amps strategically restored some of the midrange sculpted out of the Mesas.
Further depth and texture was added by overdubbing a Jerry Jones baritone tuned an octave lower than the guitar, while additional overdubs consisted solely of muted string 'chuks' to enhance the percussiveness of the attack. These tracks were all meticulously blended with Jason Newsted's tight unison bass line to create a massive riff.
ORIGINAL GEAR
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GUITARS: ESP MX-220 (black finish) with EMG 81 (bridge) and 60 (neck) pickups (bridge pickup), Jerry Jones Danelectro Longhorn baritone copy (bridge pickup)
AMPS: Mesa/Boogie Mark IIC++ (Volume 1: 9.5, Treble: 5/pull shift, Bass: 2, Middle: 0, Master 1: 4/pull deep, Lead Drive: 6/pull lead, Lead Master: 4, Presence: 3, Graphic EQ: 80: +2, 240: 0, 750: -12, 2200: 0, 6600: +3), modified Marshall JCM800 (settings unknown), Mesa/Boogie Mark IV (settings unknown), ADA MP-1 preamp, Mesa/Boogie Strategy 400 power amp
CABINETS: various Marshall 1960B 4x12s with Celestion Vintage 30 speakers
EFFECTS/PROCESSORS: (connected to amp effects loop) Two Aphex EQF-2 EQs (EQ1: 4.2kHz shelving/+6, 1.2kHz/-6, 120Hz shelving/+4, high-pass filter 100Hz; EQ2: 6kHz shelving/+6, 900Hz/-6, 240Hz peaking/-4), Aphex CX-1 Compressor/Expander (settings unknown)
STRINGS/TUNING: Ernie Ball Power Slinky .011–.048/ D standard (DGCFAD)
Aphex Cx 1 Compressor Expander Tool
STRINGS/TUNING: Ernie Ball Power Slinky .011–.048/ D standard (DGCFAD)
Aphex Cx 1 Compressor Expander Tool
PICK: Dunlop Tortex .88mm
Aphex Cx 1 Compressor Expander Valve
- ESP LTD EX-401
- Mesa/Boogie Recto-Verb 25 combo
- Mesa/Boogie Boogie Five-Band Graphic EQ pedal
Aphex Cx 1 Compressor Expander Cylinder
Place the Graphic EQ pedal in the amp's effects loop for the best-sounding and most dramatic EQ sweep.
Aphex Cx 1 Compressor Expander Kit
Behringer COMPOSER PRO-XL MDX2600 Expander/Gate/Compressor/ Peak Limiter with Integrated De-Esser, Dynamic Enhancer, Tube Simulation and Low Contour Filter
Whether you're recording, mixing or mastering, the COMPOSER PRO-XL MDX2600 gives you total dynamic control. It includes all of the features you would expect from a reference class compressor-plus a voice-adaptive de-esser, a new dynamic enhancer, authentic tube emulation and much more. These are some of the indispensable tools for producing clean, consistent audio with virtually no loss in signal quality.
Highlights
the advantages of hard-knee and soft-knee characteristics
Integrated de-esser with switchable male/female voice recognition removes excessive sibilance from your vocal tracks
IGC (Interactive Gain Control) peak limiting circuitry combines clipper and program limiter for reliable and inaudible protection against signal peaks
Switchable dynamic enhancer for brilliant, lively audio even with heavy compression
IRC (Interactive Ratio Control) expander/gate circuitry for virtually inaudible noise suppression
Switchable tube simulation for the extra warmth and transparency of classic tube circuitry
Automatically or manually adjustable attack and release times
Switchable low contour filter prevents 'pumping' due to low-frequency dominated compression
Stereo couple function with independent output level settings
Switchable side chain input with side chain monitor function
Ultra low-noise 4580 operational amplifiers and state-of-the-art VCA's
Separate 12-segment LED meters for input/output levels and gain reduction
Dedicated 'traffic light' threshold and de-esser level displays
High-quality detented potentiometers and illuminated switches
Servo-balanced inputs and outputs with ¼' TRS and gold-plated XLR connectors
Relay-controlled hard bypass switch with auto bypass function in case of power failure
Conceived and designed by BEHRINGER Germany
