...And Justice for All producers reunite! Toby Wright and Flemming Rasmussen

[ZackElekes]

This album is extremely debated, so it's been quite fun to hear the vision and stories of the two producers who worked with Metallica on this record back in '88 (*they did NOT mix it).

Flemming Rasmussen and Toby Wright, they are probably the best sources when it comes to AJFA studio settings, gear and stories.

Curious how you guys feel about this record, and also, about the padded toilet seats at One on One Recording Studios

Full podcast:

 

[BABMusic]

I look forward to listening to this. I remember reading a long time ago that James had some sort of secret to getting the low frequencies of his tone. It was implied that was not meant to be known, but I'm curious as to what it meant. Maybe a certain room placement or something?

I love AJFA, but I admit it does sound like the color gray to me. Not an album I want to hear every day, but it's a lot of fun to listen to. Maybe it sounds gray to me because the cover art.

 

[ZackElekes]

I look forward to listening to this. I remember reading a long time ago that James had some sort of secret to getting the low frequencies of his tone. It was implied that was not meant to be known, but I'm curious as to what it meant. Maybe a certain room placement or something?

I love AJFA, but I admit it does sound like the color gray to me. Not an album I want to hear every day, but it's a lot of fun to listen to. Maybe it sounds gray to me because the cover art.

That cover absolutely fits the album. At the same time, Ride the Lightning sounds extremely blue and cold lol.

Oh yeah, well, they don't specifically mention the low frequency trick here, but Flemming talks about it in his masteclass.

 

[GuitarVacation]

I look forward to listening to this. I remember reading a long time ago that James had some sort of secret to getting the low frequencies of his tone. It was implied that was not meant to be known, but I'm curious as to what it meant. Maybe a certain room placement or something?

I love AJFA, but I admit it does sound like the color gray to me. Not an album I want to hear every day, but it's a lot of fun to listen to. Maybe it sounds gray to me because the cover art.

Great description. I know from a normal audio standpoint Justice, or at least the mix that ended up being the album, is not good. And, there’s no way around the bass parts being buried.

But, it has such a specific sound that is unique. It is partly a time of life thing, as I listened to AJFA at a formative time in my life. I didn’t know or care that it was an audio misfire, to me it sounded bleak and downright evil.

Justice is in a special place in my heart because of the above. Also, it’s likely partially responsible for me being attracted to albums that are stamped by a particular studio sound of the time (Tampa Death Metal records come to mind).

The sound of an album isn’t always great from a pure audio analysis, but most of my favorites have some element of a unique sonic stamp.

Super polished sound engineering/production is often something I have to make myself get past if it doesn’t match my ideal of the type of music at hand.

 

[Beyond Black]

Flemming wanted to make a bigger and badder sounding MOP, Lars had different plans…
Since the bass is nonexistent, they should’ve said that they omitted it as a tribute to their fallen brother, Cliff.
Now that would’ve been fuckin legendary.

 

[jeff5]

I love AJFA, but I remember being a bit disappointed by the sound when I first heard it when it came out. I was comparing to MOP and even Garage Days and the sound of the album was different.

I'm fine with the sound now, but why do I feel like the guitar tone is different starting with The Shortest Straw and for the whole second half of the album? For you young'ns that would be side two of a cassette tape LOL! (That's how I first heard it) I still feel that way. Did they do something different with those songs and onward?

 

[VonBonfire]

 

[Beyond Black]

I love AJFA, but I remember being a bit disappointed by the sound when I first heard it when it came out. I was comparing to MOP and even Garage Days and the sound of the album was different.

I'm fine with the sound now, but why do I feel like the guitar tone is different starting with The Shortest Straw and for the whole second half of the album? For you young'ns that would be side two of a cassette tape LOL! (That's how I first heard it) I still feel that way. Did they do something different with those songs and onward?

Garage Days is their best sounding/produced release.

 

[TheGreatGreen]

I love the sound of AJFA. It might not be technical rule book ideal but it has such a distinct personality that I couldn’t imagine those songs sounding any other way. The guitars have a huge 3D kind of resonance and crunch, and the palm mutes are devastating even though there’s not that much gain dialed in. Yeah some of the drums are a bit small, direct, and spread out sounding but the kicks are massive. Also, whatever they did to the guitars on Dyers Eve that made the amps sound like they’re about to explode makes it one of the most impactful tracks on the album and it's awesome. I’m glad they took the approach they did.

As much as I personally chase idealized tone these days, I’ll admit that some of my favorite metal records are nowhere close to ideal sounding. AJFA is one of them. Other stuff like older Insomnium records also fit the bill, they’re maybe kind of amateurish sounding as far as the production and even guitar tone goes but the music is so good that it ends up not mattering much, and again the unique vibe and personality of those records that happen in part because of the production just makes them that much cooler and memorable in the end.

 

[thegame]

They need to apply the Justice absent bass style mix to their next record, but for the drums and lead guitar instead

 

[VonBonfire]

They need to apply the Justice absent bass style mix to their next record, but for the drums and lead guitar instead

It would be even cooler if they found a guy that could actually play drums.

 

[ZackElekes]

I love AJFA, but I remember being a bit disappointed by the sound when I first heard it when it came out. I was comparing to MOP and even Garage Days and the sound of the album was different.

I'm fine with the sound now, but why do I feel like the guitar tone is different starting with The Shortest Straw and for the whole second half of the album? For you young'ns that would be side two of a cassette tape LOL! (That's how I first heard it) I still feel that way. Did they do something different with those songs and onward?

You're right. They messed around with the settings and even some gear. I love how the guitars sound especially on Harvester of Sorrow and The Shortest Straw.

 

[Philhouse]

I love AJFA, but I remember being a bit disappointed by the sound when I first heard it when it came out. I was comparing to MOP and even Garage Days and the sound of the album was different.

I'm fine with the sound now, but why do I feel like the guitar tone is different starting with The Shortest Straw and for the whole second half of the album? For you young'ns that would be side two of a cassette tape LOL! (That's how I first heard it) I still feel that way. Did they do something different with those songs and onward?

Mike Clink did the engineering on drums for Straw and Harvester before they went back to Flemming. Not fully sure how much that impacts the overall song tones though, but I suppose it would influence on how the track is mixed relatively with the other instruments. Also back in those days they changed the amp settings for many songs on the album, as they did on MOP too. You can see the settings in Flemmings notes for each song.

https://www.fwrproduction.com/FWR_Produktion/Notes_2.html

I actually really like that they did that. It gives each song a personality. I feel that is what might be lacking in a lot of todays music, the lazy set-n-forget tone settings used for every guitar track and every song over a whole album, seems more common and also creates the bland generic-ness that I hear in most albums now.
It doesn't need to be stark tone differences between tracks, but some subtle changes and tweaks really give each song a personality. Like in the real old days where songs were recorded individually as studio access was available and then complied into an album later, I'm thinking like Hendrix did back in the day.

 

[ZackElekes]

Mike Clink did the engineering on drums for Straw and Harvester before they went back to Flemming. Not fully sure how much that impacts the overall song tones though, but I suppose it would influence on how the track is mixed relatively with the other instruments. Also back in those days they changed the amp settings for many songs on the album, as they did on MOP too. You can see the settings in Flemmings notes for each song.

https://www.fwrproduction.com/FWR_Produktion/Notes_2.html

I actually really like that they did that. It gives each song a personality. I feel that is what might be lacking in a lot of todays music, the lazy set-n-forget tone settings used for every guitar track and every song over a whole album, seems more common and also creates the bland generic-ness that I hear in most albums now.
It doesn't need to be stark tone differences between tracks, but some subtle changes and tweaks really give each song a personality. Like in the real old days where songs were recorded individually as studio access was available and then complied into an album later, I'm thinking like Hendrix did back in the day.

I have to agree with you. Each song stands out a bit and you get more variation of the same taste.

Especially nowadays when everything sounds the same

 

[stanbog]

I'm fine with the sound now, but why do I feel like the guitar tone is different starting with The Shortest Straw and for the whole second half of the album? For you young'ns that would be side two of a cassette tape LOL! (That's how I first heard it) I still feel that way. Did they do something different with those songs and onward?

Thanks for reminding me about this!
Indeed side two of the cassette sounded bit different. Also, if I am not mistaken Dyers Eve was cut after the beginning? 60 min cassette didn't have enough space.... It was years later that I heard the whole song

 

[Techdeth]

You're right. They messed around with the settings and even some gear. I love how the guitars sound especially on Harvester of Sorrow and The Shortest Straw.

I love the times in ever song . Dyers Eve might be best ever

 

[TONEISTKRIEG]

Garage Days is their best sounding/produced release.

This was my first exposure to Metallica (bought the cassette at the mall when I was in 7th/8th? grade) and to this day is the standard that I judge their other recordings. Although I do hold MoP in high regard for the recording and songwriting, Garage Days just RIPS and gets to the damn point song-wise since it’s all covers and doesn’t have the meandering fat that portions of their other albums (save Kill ‘em All) tended to have.

Garage Days sounded immediate, tight when the performance was on the line but also playfully loose; like people who knew what they were doing and could execute it but also were having a great time. The guitar/bass tones are killer, the drums feel great and the whole thing just sounds heavy and pissed. Loved it then and still do today.

 

[anomaly]

You're right. They messed around with the settings and even some gear. I love how the guitars sound especially on Harvester of Sorrow and The Shortest Straw.

I believe they used a Quad for The Shortest Straw, the Mark III channel, or bottom channel so it's got a grittier shittier texture to the gain. I believe they mixed in that Quad at various percentages on a few other tracks with the IIc+ just to give the tone more crunch. Listen to the palm mutes on the bridge riff of Blackend, I think I can hear it there??

 

[anomaly]

This was my first exposure to Metallica (bought the cassette at the mall when I was in 7th/8th? grade) and to this day is the standard that I judge their other recordings. Although I do hold MoP in high regard for the recording and songwriting, Garage Days just RIPS and gets to the damn point song-wise since it’s all covers and doesn’t have the meandering fat that portions of their other albums (save Kill ‘em All) tended to have.

Garage Days sounded immediate, tight when the performance was on the line but also playfully loose; like people who knew what they were doing and could execute it but also were having a great time. The guitar/bass tones are killer, the drums feel great and the whole thing just sounds heavy and pissed. Loved it then and still do today.

MOP has no fat IMO. Every note serves a purpose. In my opinion. It's as close as it gets to a perfect metal album.

 

[anomaly]

I love the times in ever song . Dyers Eve might be best ever

I think Dyers Eve has the best tone on the album. It sounds like pure IIC+ IMO.