He got it, and they sent us the CAD files, the 3-D blueprints.
“And the rhythm guitar player is doing this other thing.” It ends up looking cool when you see them side by side lining up rhythmically.
But we also decided that everything in this world is a little bit extreme.
It's something Tommy and I asked for from the beginning. I told him I wanted to animate guitars and have them played accurately.
I'm a guitar geek: I grew up knowing who played what instrument, like Slash played Gibson. That this would be a show for guitar geeks and metalheads, and people who like music.
I've done some stuff where I've gone into the greenscreen room because the lighting's really good.
I'll say, “Here's what I'm doing,” and I'll play with the song.
For the TV show, I may put a little bit of chorus on it.
On the record, Ulrich layered fuzzier sounds than I would normally use.
I program all the drums for the show, because we don't have enough time or money to get into a real studio. I'll create a demo and then later I'll clean it up at home. I try to use more of the music side to advance it, like a cool guitar-lead fill or reverse sound effects. I made the decision in the first episode that that'll be part of the Dethklok sound. I'm tuned down to C, so I get all this extra play and vibrato. On the melody, that's cocked wah and the Line 6 POD. ” He said, “A lot of times you have to do it over and over again to make it work.”And every time I recorded a solo for the record, I'd get just good enough to get through the whole thing, and then my arms would turn into Jell-O. Then I'll try to do it in its long, complete form, if I can. In my mind, if I'm doing a Skwisgaar lead, it's very technical and it's got a lot of overacting in it: a lot of vibrato, a lot of drama to it.
I use it to start a song off, too, if I don't have a really cool drum fill to get into it. My version of the Queen/Brian May tone is usually a cocked wah, and then I try playing like him, ripping off that slightly pinched harmonic kind of thing that he gets. If I'm doing what I think is a Toki lead, it's a little bit more straightforward, more pentatonic.
Small, an accomplished guitarist and composer who attended Berklee College of Music, scores the music in each 11-and-a-half-minute episode in his modest personal studio (see the sidebar “Rock Around the 'klok”).