“I play it in single coil 95 percent of the time, but I can pull the volume knobs and then the pickups turn into humbuckers. I wanted it to be very even over the fretboard and not have a bass where B string is boomy and that it gets softer when you go higher. “The six-string I wanted to have a hybrid that sounded pretty good for slapping and that was also comfortable to play fingers and chords, basically to do the things in Dirty Loops where you had to cover a lot of different aspects. The six-string, that’s the pink one, will have a factory-made version. It’s usually maple neck on all the things. “My first signature was the traditional Fender kind of thing but with both the Jazz pickups and the P pickup. When I get the bass there’s always some extra feature that he just put in there. I think that’s a great way of working with him because he gets what I want and adds his own flavor. “Yeah, I never really know what’s in the basses! I just tell Anders Mattisson how I want it to sound and how I want it to feel. I have small hands and the wide neck on a P-Bass feels uncomfortable for me It was funny when you posted your new Mattisson bass on Instagram and didn’t know the specs. He does some takes and experiments a little bit, and then we turn it into a track.” I haven’t recorded anything at all when he tracks the drums. If there’s hits, they are there, but there’s usually just synth bass. “Yeah, something that’s finished enough so that there’s the direction of the song. So are the drums recorded to a demo version? It takes more time and there’s a lot more cheating going on!” “I have the luxury of usually recording last so they will sit with me and be like, 'You could try doing this' or 'Try a fill over this drum fill.' The way we to arrange things, it’s not like a jazz setting where we go into a room, do three takes and pick the best one. I guess there’s some improvising when Aron records his drums, and then I kind of write stuff from what he does or from what Jonah does. When the song is done then we arrange it, and then we record it. A song is usually very simple from the beginning. Is jamming or improvising part of your writing process? Every song has kind of a different way it’s not a set formula.” “I mean, that’s kind of the sound of Dirty Loops: a little bit of everything all at once, so in that way it’s similar but it’s not done the same way as before. You will hear that it’s Dirty Loops but it’s definitely also stuff that we haven’t done before. There will be some stuff that’s more orchestral. We still have more songs to write for it, but it will probably be out next year sometime. If I add some effects before I will just have one pedal that goes straight in there.”Īre you working on new Dirty Loops material? It’s that into the Universal Audio sound interface, so it’s really DI. I go through an EBS Reidmar, which is one of the cheapest amplifiers, just because I like the way it colors the sound. “No, for recording I usually don’t use delays or anything like that from a box. The sound of Dirty Loops is a little bit of everything all at once I just worked until it was 'sounds decent, let’s go with this!'” It’s just some high-gain amplifier but I don’t really know how to wire those. That goes into an amp simulator with a Whammy, some delay and a gate. On the lead solo in Follow the Light I use an SY-200 lead sound that’s one octave up. The backtracks actually turn on the analog pedals from the FM9. “That’s the neat thing working with backtracks as well, since you can have a MIDI signal come out of the backing track so it changes all the sounds automatically for me. That’s really clever using the FM9 to control the pedalboard, too. Basically any modulation, delay and reverb, EQ, and pitch shifter stuff is from the FM9.”Ī post shared by Henrik Linder (opens in new tab) I also use the FM9’s Plex Delay and Plex Verb. I use the compressors in there as well, and all the delays and modulations, harmonizers and weird effects. Previously I used a wet-dry-wet rig but this is smoother. Then it goes into the FM9 and then there’s a stereo out from that. I don’t run them simultaneously that often. The fifth loop has a Fjord Fuzz Fenris and a Darkglass Vintage Microtubes overdrive, so it’s just two different flavors, one fuzz and one distortion. “The third loop is a Boss SY-200 for some synth sounds, and fourth is a Three Leaf Proton envelope filter. The second is the Three Leaf Audio Octabvre, a great switchable octaver. In the first loop, it’s a Darkglass Hyper Luminal compressor. That is controlled by MIDI by the FM9 to turn on and turn off loops. “The signal goes into a Morning Star switching system. You posted a picture of your Fractal FM9 and pedalboard on Instagram earlier this year.
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