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“At first, they were very energetic, but by this time, they were a big, established band, and the vibe was different. They were getting jaded. Layne told me that he didn’t like being famous. He told me flat-out, ‘People look at you like you’re a piece of merchandise.’
“The material was great; I knew it was going to be a strong record. We recorded it at One On One, where Metallica did their Black album. Lars told me that they had this 31-inch woofer for the kick drum. I rented a PA system and put the kick drum, toms and snare through this woofer plus these huge side monitors. That went into the room sound, and it made the drums sound like artillery going off. I credit Lars with turning me on to that room.
“The basic tracks went down easily, more so than what we did with the first record at London Bridge. We finished at One On One, and then we went to Eldorado to do overdubs, including Jerry’s guitar parts. I did the mixing there, too. That’s where I developed the style of blending Jerry’s sound, using the highs, mids and lows from three different amps.
“I had two 24-track machines, and I used 16 tracks for Layne’s vocals. I tripled-tracked him, and he sounded great. He knocked out his parts and just sang great. I made this effect using delays on Layne’s vocals with an Eventide Harmonizer; in fact, I called the effect ‘Layne Staley.’ Reverb can darken things up, but delays keep things hard and powerful. None of the mixes took long. A lot of them were done in just half an hour.”