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• #Mac demarco full album salad days rar mac

Best left to the professionals who spend years studying the process, Salad Days was mastered by Josh Bonati of Bonati Mastering in Brooklyn, NYC – a seasoned engineer with a long list of clients, including DIIV, Lust For Youth and Beach Fossils.

#Mac demarco full album salad days rar mac

Step 5: Set budget from low to high and bakeĪlthough Mac Demarco was independent in almost every aspect in creating Salad Days, mastering was one skill that was outsourced. While this kind of effect was sometimes used on old jazz recordings to create a ‘live on stage’ stereo image, it’s fairly uncommon these days and is an abnormal choice for a modern indie record further proof that Salad Days is not at all typical. In some songs, like Brother, Passing Out Pieces, Go Easy and Jonny’s Odyssey, the drums are panned to one side with the bass mirrored on the other. Due to the limited channels on the Fostex, the drums on the album are grouped closely together and sit fairly narrow in the mix. But now I think like flanger? I love it it’s great.”Īnother distinctive Salad Days trait is the panning and stereo image.

When asked by American Songwriter about the guitar tones on Salad Days, Mac explained by saying “ finding things that I used to think were really cheesy or really lame, like classic rock guitar sounds weird, the effects, I hated it before. Additionally, the irregular combination of recording a cheap guitar through a not-so-cheap tape machine further defined the distinctive sound of the guitar.ĭeMarco’s go-to effects unit for guitar is the modest Alesis Microverb 4, from which he uses a variety of choruses, flangers and delays, creating rich wavering chords, cheesy chorus lead tones and an overall lo-fi quality that translates well to tape. Purchased for a measly $30, the Japanese-built guitar sports a single-coil neck pickup, generating his recognisably clean, jangly tones. And it all begins with Mac’s beloved 60s Sears guitar that looks like a prop from a Frankenstein sequel due to years of touring abuse. The sound most people associate with Mac DeMarco is his metallic guitar tones, of which there is no shortage of on Salad Days. Problematic as these hiccups may seem, they were imperative to the character of the album, and in conversation with Minsker, Mac reacts to the damaged tape by saying, “The guitars sound so fucked up It’s amazing.” Recording to tape requires both expertise and care – in particular, guarding the precious magnetic tape against volatile elements – but towards the end of the recording process, the eight-channel tape machine was down to six channels, and thanks to his close-proximity chain-smoking, the tape had slightly warped. In the 2014 Pitchfork documentary Pepperoni Playboy, DeMarco reveals that the trick to his signature sound is “ all pitch control you dumbasses, get yourself a tape machine” as he jokingly bends the song Let Her Go into a beautiful sluggish mess using the pitch knob on his Fostex. Step 2: Equal parts analogue, tape and cigarettesĪ large portion of the warm, wobbly vibes on Salad Days came about through the use of analog gear, including a Focusrite ISA One Analog Preamp, his vintage Roland Juno-60, and most notably, his Fostex A-8 Tape machine. And without added opinions from musicians, co-writers, producers or engineers, Salad Days emerged from the womb as a very authentic creature, a reflection of DeMarco himself.

Whether it was his prowess on the fretboard, his no-frills style of drumming or his uncertainty with keys, Mac’s unassisted writing, performing and engineering on the album spawned a truly unfiltered product of who he is. Keyboard: I’m not super good at, but that’s fun for me because I don’t really know what I’m doing, and maybe something weird will happen, y’know?”

In 2014, when American Songwriter asked Mac why he didn’t involve his band in the recording of Salad Days, he responded by saying “I feel like I’m most satisfied when I can do it myself… Guitar and bass: I’m okay at. This aspect of his creative process really shines on Salad Days, an album that was performed, recorded and mixed entirely by DeMarco himself at Jizz Jazz Studios – his small Brooklyn apartment. His music is directly a result of his character, not the other way around. Mac’s demeanour isn’t some façade conveniently reflective of his music used to sell records to young rebellious teens.