West - In the beginning of the song, my guitar is completely dry. I don’t use any effects until the first time the overdriven guitars kick in. While the guitars cut in and out, I am only using a Fulltone OCD. When everything comes in full, I add an Ibanez TS9 in front of the OCD. I like stacking these two this way because it allows me to jump up or down in levels of gain/volume to alter the dynamics of a part. Plus, they sound really great together. For the lead at the end of this section I think I used my rat and El Capistan. We wanted to use a different overdrive sound to help the lead stand out and the Rat's filter control helped me carve out a spot in the mix.

For the next section, I'm using the El Capistan and my Neunaber stereo WET reverb. They are adding some space and ambience underneath my little triplet riff and I really like the way those two pedals do that sound. When it comes in big, I use TS9 being my only overdrive. With the level high and the gain low, that the part is loud and stands out, but isn’t too saturated. Halfway through the section, I kick on the Rat to just make everything sound huge and nasty. I love the overall sound we got on this section in the recording, and there is no doubt the Rat was a big factor there. The ending section is more El Capistan and WET. I think they were set the same way as in the triplet section. All my parts were recorded with a Fender Telecaster into a Fender Bassman


Josh-For bass, we recorded using a Deluxe Jazz bass into a Fender Bassman on a Sunn 2x15 cab. The bass was clean until everything picks up. At that point we used a big box NYC Big Muff. The massive low end and mid scoop really made this part thick. I played power chords with a pick to really fill out the sound in this section. I go back to clean for the next section. When the song picks up again, I am playing a bass line clean. When that section changes, I go back to the Big Muff and to power chords. That combo just sounds massive. With only having one guitar playing rhythm there, I was able to fill a lot of sonic space, allowing the lead guitar to sit on top and nothing feel empty.


Ryan- When I come in with the lead at the beginning, I have my Eventide Space on the ModEchoVerb setting and an EMFX delay tapped to tempo with some modulation on. I used a fairly big size on the Space with the mix around 28. The delay in the algorithm was off and so was the modulation. I love the reverb sound on this mode because is just sounds large and open. This was followed by turning off the reverb and turning on my Rat. The delay stayed on to add some texture during the choppy parts. Mike added in some bowed guitar underneath the choppy part using my space on the stock Shimmer setting with a cascading 5th and an octave up on. It came out great and adds just enough color. For feedback, we used different combinations of Rat, Zvex Box of Rock, and West’s OCD and TS9. When West plays the tapping part, I have just Rat and delay on.
The last chord I turn on the Space again on the same setting.
That dies out into my opening the triplet riff with the EMFX delay on again. I added just a little color and movement under the riff. About 3/4ths of the way into that part, I turn the Space on again with add a little more fullness and make the whole riff bloom a little. After everything dropped out into the little riff, I changed modes on the Space to Blackhole. I used inverse gravity(size) near 25 to give that smeared feeling on the lead in and I used this in conjunction with the Rat and EMFX delay for the tremolo picked part. I added in the boost side of my Box of Rock in the second half of this section when my part changes. The outro was the exact same settings on the Space and EMFX delay. This was all recorded using a Memphis Mustang copy from the 70’s into an Ampeg V4.