Disclaimer- Copper Blue is one of my favorite records. Totally love that record.

Anyway- my old band (Garrison) recorded at the Outpost in Stoughton, MA a couple years after Sugar tracked Copper Blue and Beaster there. The tech said that Bob Mould came in with 4-track demos that were pretty much complete- all of the parts were completely planned out and ready to go. He said recording was a real breeze.

That place has a great live room, drums sound really good there, and very crisp. There is a huge amount of high end on that record, which is probably a testament to that as well as to Bob Mould's hearing losses..

I also remember hearing something about the 12 string Mould uses- something like the piezos for each string have individual outputs, and they panned them all over the place when mixing. Makes sense when you listen to the record. That record is pretty darn compressed when I listen to it now. Still think it works for the sound they were going for.

I'm pretty sure you need to first find a recipe for the Elixir of Skinhead Violence.

Copper Blue is one of the most 'stereo' records Ive ever heard. Most things are double tracked and panned hard left and right to spread out the sound, especially the vocals. I suppose in the 90's it was common to go for the biggest sound you could possibly achieve.

When this album first came out I was obsessed with it, listened to it all the fucking time. I've just rediscovered this fantastic album again after nearly 20 years. So NOT CRAP it requires bold type.Edit: The Tech Room?

Copper Blue is an amazing summer album, but I've always hated the production on it. No bass frequencies whatsoever.

Mason wrote:Copper Blue is an amazing summer album, yes!it reminds me of lifeguarding over summer break in high school.

wow, his taste in gear and guitar sound could not possibly be further from mine. no wonder he always sounds so shitty!

Mason wrote:No bass whatsoever.fyp

found this, bob mould talking about the guitar recording for this lp. no DI'd bidnezzI remember my signal path because I still have it! [laughs] I plugged into a Roland SDE-1000 delay, and then I had an Eventide H3000 SE “ I ran stuff from it in stereo and then I compressed it with a DBX 160S two-channel compressor. At that point, I had a left and a right signal, so I had a pair of stacks on each side, with each made up of a Roland JC120 solid-state head, a four by 12 Marshall cabinet and a four by 12 Sonic cab “ both of those had Celestion speakers. Also, on each side of the stacks, I had a Fender Concert, a great tube amp with one 12-inch speaker."The Roland JC120s were for the faster, tighter low end, and the Fenders gave me that dirty wash on top. They were usually split by 15 milliseconds because of the stereo delay. So it was delay into harmonizer into compressor to the stereo stack."Pedal-wise, it was an MXR Distortion Plus, which I still use today. That's the core of the sound: the Strat Plus, the stereo stack and the Distortion Plus."

I think Beaster was the reason I never got into Bob Mould.