The Dear Hunter On Putting Modern Guitars Into Old-Sounding Tunes - GuitarPlayer.com

The Dear Hunter On Putting Modern Guitars Into Old-Sounding Tunes

THE GUYS IN THE DEAR HUNTER, GUITARIST/MULTI-INSTRUMENTALIST CASEY CRESCENZO AND GUITARISTS Erick Serna and Andy Wildrick, are great at blending different musical eras on their current release, Act III: Life and Death, somehow getting modern-day rock guitars to coexist with old-timey pianos, clarinets, and accordions. “For a song like ‘Mustard Gas,’” says Crescenzo, “we wanted it to be this dirty, surreal, slow polka, but we wanted the tones to be traditional.” “When we close-miked the guitar amp for certain parts, though,” says Wildrick, “it sounded too heavy and in your face. So we miked it from across the room with a ribbon mic, and that’s the guitar sound we ended up using. It didn’t sound so high fidelity.” “We did the same thing with the drums,” adds Crescenzo. “The key was letting the room sound come through on pretty much everything.”
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THE GUYS IN THE DEAR HUNTER, GUITARIST/MULTI-INSTRUMENTALIST CASEY CRESCENZO AND GUITARISTS Erick Serna and Andy Wildrick, are great at blending different musical eras on their current release, Act III: Life and Death, somehow getting modern-day rock guitars to coexist with old-timey pianos, clarinets, and accordions. “For a song like ‘Mustard Gas,’” says Crescenzo, “we wanted it to be this dirty, surreal, slow polka, but we wanted the tones to be traditional.” “When we close-miked the guitar amp for certain parts, though,” says Wildrick, “it sounded too heavy and in your face. So we miked it from across the room with a ribbon mic, and that’s the guitar sound we ended up using. It didn’t sound so high fidelity.” “We did the same thing with the drums,” adds Crescenzo. “The key was letting the room sound come through on pretty much everything.”

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