Big Sir has always been a great avenue for bass and low end and this new DIGITAL GARDENS record is about as bass heavy and wild as any record I have heard. On PedalsAndEffects, I have been revealing what I used on this record, while saving the best secrets for last.
As I have stated before, Big Sir ventured out to make a digital hardcore style record from songs on our previous record, Before Gardens After Gardens. I sped up the bpm’s, distorted the bass, Lisa Papineau severely tweaked her vocals through pedals and we came out with the heavy, distorted and bass driven DIGITAL GARDENS. Though the treatment worked for most of the tracks, one track, “Kindest Hour” didn’t sound right being sped up. I decided, instead, to just make my bass a stand alone onslaught of heaviness to accompany Lisa’s harrowing vocals.
To get this bass sound, I started with my vintage pedals that consisted of a Boss CS-2 compressor into my Sovtek fuzz. That is what you hear while Lisa is singing. Then, when the bass breaks come up, I kick in some vintage, jet-sounding, A/DA flanger sweeps. I have featured this flanger before on PedalsAndEffects, and if you know me, I have always stated it is the best flanger ever made. Mine is from the 80’s and it literally takes over a mix. I used the A/DA a ton in Mars Volta and you can really hear it on this performance here:
The future of sound manipulation enters DIGITAL GARDENS right at the 1:40 mark of The Kindest Hour with the help of Red Panda’s Particle. I chose the Particle as one of my top ten favorite pedals of 2013 and I couldn’t wait to use it on a record.
The original “Kindest Hour” has a bass solo of some sorts in it as well but I felt I had to jump up the DIGITAL GARDENS version up a notch and this was the perfect opportunity to showcase how wild and unique the Particle really is. The futuristic glitches are very encompassing and with the reverse effect of the sound being created, I think it helped me make some of the best freaky elements I have ever put down on a track.