Butch Vig, Billy Bush and Joe McGrath (Against Me)

Every song was played to a click, but there was a tempo map involved so the tempo does fluctuate from part to part and through the fills.

DRUMS

Kick Inside: Audio Technica ATM25 > API 512C Pre >550B,
Kick Outside 1: Neuman U47 FET > Chandler TG2 Pre > Chandler Germanium EQ
Kick Outside 2: Yamaha NS10 > Chandler TG2 Pre

Snare Top: Josephson es22 > Chandler Germanium Pre > Chandler Germanium EQ
Snare Bottom: HEIL PR20 > API 512c Pre

Toms: Jospehson es22 > Shadow Hills Gama Pre > API 550b
Overheads: AKG C24s > Chandler TG-2 Pre > GML EQ
Mono Room 1: Blue Bottle
Stereo Room 1:Royer 121s
Stereo Rooms 2: Coles 4038s

GUITARS

Tom's (now known as Laura) guitar was mostly a Ric or sometimes a Tele split into his fender twin and a matchless dc30. The twin had a fet47 and a sm57, the dc30 had a heil pr30 and a 57. Both hit TG2 preamps, Massive Passive Eq, no compression.

The heavier guitar was James' - it was his goldtop Les Paul split to his marshall 100w and a Diezel VH4. The Marshall was mic'ed with a Royer 121 and a 57 and the Diezel was mic'ed with a PR30 and a 57. Again, both were TG2 preamps into a GML eq, no compression.

BASS

Bass was Andrew's P-Bass into a vintage SVT head and 8x10 cabinet.

Fender P-Bass > Evil Twin > PCP DISTRO > SVT and also into a SANSAMP RBP-1
 
The cabinet had a BLUE Mouse and a Jospehson es22 on it. They were blended together to taste..

The Evil Twin went into a 1073 and a LA-2A
The BLUE went into a VIPRE
The es22 went into an API=

VOCALS

Tom's vocal chain was a VM1-KHE into a TG channel and a Summit TLA100. The VM1 beat out all other mics not only because it sounded amazing but it was the only one that could handle the sheer volume of his voice!!

All recorded to pro tools, no tape. Mixed by Rich Costey - don't know if he mixed to 1/2" or not.

Jerry Finn Drums (Blink-182, Green Day, Sum 41, AFI)

The late great Jerry Finn created some of the most perfect drums recordings for modern pop punk. He defined the sound for the genre and after selling million of copies with bands like Blink-182, Green Day, Sum 41, AFI to name a few, we look at the signal path for drums on the Blink-182 self-titled album which was also engineered by Ryan Hewiit (Red Hot Chilli Peppers)

Kick Inside: Audio-Technica ATM-25 > Chandler TG-2 > Neve 1073
Kick Outside: Blue Mouse > Chandler TG-2 > Neve 1073 >
Both bussed together and sent to an Alan Smart Compressor and on to the Studer A-827 tape machine

Snare Top: Shure SM-57 > Chandler TG-2 > Neve 1073 > dbx 160 compressor > Studer A-827 tape machine
Snare Bottom: Shure SM-57 > Chandler TG-2 > Neve 1073 > dbx 160 compressor > Studer A-827 tape machine

Toms: B& 4011 > Manely Pre > API 550L EQ > Studer A-827 tape machine

Overheads: Neumann KM-140s > Mastering Labs Pre > Massive Passive EQ > Studer A-827 tape machine
Hi Hats: Beyer M-160 Ribbon > Phoenix Audio Pre > Avalon 2055 EQ > Studer A-827 tape machine
Ride: Beyer M-160 Ribbon > Phoenix Audio Pre > Avalon 2055 EQ > Studer A-827 tape machine

Room 1: THE Sphere (binaural microphone) > Phoenix Audio pre > NTI EQ > Dave Collins custom compressor > Studer A-827 tape machine
Room 2: Reslo Ribbon > Dave Collins low-impedance Pre > API 550L > SPL Transient Designer > Studer A-827 tape machine

“The most difficult thing to achieve when recording drums with this many mics is good phase correlation,” Hewitt says

Eric Valentine Vocals (Queens Of The Stone Age, Good Charlotte, The All-American Rejects, Slash)

Eric Valentine's favourite vocal compressor is the UA 1176LN into the UTA UnFairchild.
UA 1176LN

The 1176 does the majority of the heavy compression and the UnFairchild is just smoothing things out a bit.

The 1176 is set with a 4:1 ratio, slowish attack (1-2) and a fastish release (6-7)

It is compressing a lot. When a singer is singing loud the GR meter is pinned all the way to the left of the scale. The 1176 is one of those devices that gets thicker sounding when it compresses a lot. It is almost impossible to set it wrong.

Eric sets the Fairchild to the "2" position. Typically only compressing 3 or 4 dB

It is a bit faster than the 1176 so it catches some of the spiky moments and just smoothes a little.

Eric Valentine says he likes compressing while recording because it affects how the singers will sing. They can be more dynamic and expressive when the compressor is always pulling the sound out of their throat. If a singer is struggling to hear themselves whenever they sing softer they tend to avoid doing it and the performance starts to sound mono dynamic.

IN THE MIX

In the mix he only does very subtle compression if any at all. It is typically just enough to glue the vocals together with whatever reverb or fx are put on them. Usually a ratio of 2:1 and only 2 or 3 dB of compression.

When EQing in the mix it is usually a matter of high passing or pulling out some lows or low mids. Mostly to keep the vocals out of the way of the guitar.

Eric Valentine loves the combination SRE555 tape delay/spring verb combo on vocals. He loves mono reverb and feels it connects better with the original source sound.

Occasionally Eric Valentine uses pitch shift spread although it is usually very subtle.

The only paralell compression he uses with vocals is for distortion. Typically he sends the signal to an 1176 with the compression bypassed. he uses that in conjuction with the
line trim on the console to boost the level and get the channel strip in the console to distort and then blends it in very little.