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“I wanted layers of guitars – a thick
wall of power-rock sounds,” says Guided By Voices frontman, Robert Pollard, of
his band’s new album, Isolation Drills (TVT). Pollard got his wish. Isolation
Drills is saturated with great guitar riffs – from the Byrds-like jangle of
“Twilight Campfighter” to the all-acoustic “Sister I Need Wine” to the
Big Star-style punch of “Glad Girls”.
wanted to stay out of the way of his vocal lines. When I sent my tapes back to
Bob, he dug most of my ideas.”
Pollard also traded tapes with Farley, so
when the band finally came together to rehearse for the album sessions, most of
the songs were already worked out. “Fed Ex was our best friend,” says
Farley.
To maximize the impact of the guitar
layers, the guitarists used different guitar and amp combinations to craft
distinctive tones. “The formula changed a little, depending on the needs of
each song,” says Gillard. “In general, Nate and Bob used clean sounds with
just a little dirt, and I went with more distorted sounds.”
In the studio, Gillard mainly used his
‘76 Gibson Les Paul Custom and a Mesa/Boogie Dual Rectifier head through a
Mesa/Boogie 4x12 cabinet. For variety, he plugged into Marshall and Hiwatt
heads, and a VoxAC3O combo. Farley’s default setup was a borrowed Gibson
ES-335 and his own 100-watt Laney AOR Pro Tube half-stack Vintage SGs and
Telecasters stood in when he wanted a non-335 timbre. Pollard used a Tele and a
‘59 Les Paul goldtop—jacked into a Vox AC3O—for most of his tracks.
If you’ve noticed that effects pedals
weren’t included in the session gear log, it’s because the GBV guitarists
rarely used them. To insure getting full-bodied guitar tones on tape, the trio
agreed to “cut out the middle man’ and record sounds straight from their
amps. The exceptions included a Korg ToneWorks AX1G (the wah effect on “Want
One”), a Line 6 MM4 Modulation Modeler (the chorus on “The Brides Have Hit
Glass”), and a Boomerang phrase-sampler pedal (the backwards, two-chord
arpeggio on “The Enemy”).
One of the albums most interesting sounds
is the lush steel-string ambience on “Sister I Need Wine.” Pollard wanted a
complex and focused timbre, so he suggested that he, Gillard, Farley, and
Tobias all play the same acoustic-guitar part simultaneously. The four gathered
around one stereo microphone, and the thick guitar bed became the song’s
central track. “I wanted a lot of room sound on that one,” Pollard says,
“with all the acoustic guitars ringing together in one space.”