Recording Motörhead in the Studio [Excerpt]
So here’s what I did. It was kind of a fun setup. So what I had to do was I had to find a way where they could practice in this room together, hear their instruments, and also hear each other. So they all had headphones on, but the problem is, when you give Lemmy headphones, or Phil headphones, they don’t feel the energy of all the weight that a Marshall stack is pushing on their body.
So what I had to do is I actually had to setup two setups. I had to have Lemmy with a head and a full stack right next to him, and then in the control room, I took another head, and then I took that into another full stack that was in a closet.
So I would do the same thing with Phil. He had his Marshall there, and then his 900 head, and then I had — I probably had a 900 head in the control room, and a Marshall cabinet in another iso room. So when they were jamming, they would have all of those amps on. We’d have the closet ones on, we’d have those ones on so they could feel themselves.
But when I knew we were doing a drum take, what I would do is then I would Standby the two amps that were in the drum room, and then they would still hear their bass and guitar, and yeah, they could tell a little bit of a difference, but they knew why I was doing it, so they would say, “Oh, it’s changed a little bit Cameron,” and I’d say, “I know, maybe just turn it up a little bit.”
Then they would turn it up, and then I would start tracking the drums for a song like this.