Editing Beautiful Garbage (section)

==Recording==
[[File:Garbage Matters.ogg|thumb|right|[[Shirley Manson]] interview from 2001, around the release of ''Beautiful Garbage'']]
Smart Studios had upgraded their [[mixing console]] to a [[Trident Studios#The Trident 'A' Range Console|Trident A-Range]] model, which the band used extensively. The band [[Multitrack recording|tracked]] directly onto [[Magnetic tape|analogue tape]] using a [[Studer]] tape machine, which was then dumped into [[Pro Tools]] [[digital audio workstation]]. [[Overdubs]] and [[Audio mixing (recorded music)|mixing]] were carried out in Pro Tools.<ref name="SOS"/>

{{quote box|quote=I think if someone really wanted to figure out the processes we go through, they should listen to all the mixes of one song, all the way through. As soon as we have the basic idea, we jam in the studio, and Shirley comes up with the melody and the lyrics. It might be in a very raw form to start with, but as we go, we constantly make rough mixes. You could probably go from the first one through about 12 or 20 mixes and hear what the change will be. Some of the songs take radical detours to get from point A to point B, when the song's finished.|width=33%|source= —[[Butch Vig]]<ref name="SOS"/>}}

Vig kept the drums and percussion simpler than before. Percussive tracks were recorded through a 30-year-old [[Roger Mayer (engineer)|Roger Meyer]] [[Dynamic range compression|compressor]] to color the sound (Vig: "It's really saturated and distorted, but in a very musical way").<ref name="SOS"/> Some tracks however were fairly scrutinized: an [[instrumental]] [[Bridge (music)|break]] in "Til the Day I Die" incorporated [[reverse tape effects]].<ref name="SOS"/> Vig was not satisfied with his "[[swing (jazz performance style)|swing]]" on a 6/8 [[Groove (music)|groove]] written for a [[falsetto]] vocal Manson had recorded on "Can't Cry These Tears", so he recruited [[Matt Chamberlain]] to play the part. The recorded sequence incorporated Chamberlain's contribution, some of Vig's performance and some light [[Programming (music)|programming]].<ref>{{cite magazine |last=Reid |first=Pat |title=Beauty and The Beast |magazine=[[Rhythm (music magazine)|Rhythm]] |date=July 2002 |issn=0957-6592}}</ref> Chamberlain also performed a "chopped-up" [[Drum beat|drum pattern]] for "Cup of Coffee" and a "bitchin' funk groove" on "[[Breaking Up the Girl#Commercial track listings|Confidence]]".<ref name="Soundbarrier">{{cite magazine |last=Budofsky |first=Adam |title=Breaking The Sound Barrier |magazine=[[Modern Drummer]] |date=June 2002 |issn=0194-4533}}</ref>

Much of the recorded guitar work was [[Equalization (audio)|heavily processed]], the band using a [[Pod (amp modeler)|Line 6 Pod]] for [[Melody|melodic parts]] and [[Ornament (music)|embellishments]]: for example, for the [[Thirty-two-bar form|middle eight]] of "So Like a Rose", Erikson played a [[Gibson Les Paul|Les Paul]] with an [[Ebow|E-bow]] through the Pod, while the [[Synthesizer|synth-like]] [[Introduction (music)|intro]] to "Parade" was created by layering an acoustic guitar part with a clean electric guitar. A [[tremolo]] effect on "Can't Cry These Tears" was inspired by [[Wall of Sound|1960s production techniques]].<ref name="SOS"/> The [[Amplifier modeling|amp modelers]] were used to pre-effect the recording prior to Pro Tools, in order to prevent [[phasing]]. For electric guitar recording, the band utilized [[Isolation cabinet (guitar)|cabinet miking]] – four microphones recorded the output of a [[Marshall Amplification|Marshall]] [[Guitar amplifier|amplifier]]. Acoustics were recorded using a single [[Blue Microphones|Blue Bottle]] microphone.<ref name="SOS"/> [[Daniel Shulman]], who had performed bass guitar on ''Version 2.0'' and the band's two world tours, spent two separate weeks laying down bass parts. Shulman was given freedom by the band to come up with parts and be creative, creating new [[bassline]]s on the [[Verse (music)|verses]] of "[[Androgyny (song)|Androgyny]]" and "Nobody Loves You".<ref name="bass">{{cite magazine |url=http://www.geocities.com/boylikearose/articles-bass-mar2002.html |title=Daniel Shulman |magazine=[[Bass Player (magazine)|Bass Player]] |date=March 2002 |access-date=February 3, 2008 |archive-url=https://archive.today/20091025174949/http://www.geocities.com/boylikearose/articles-bass-mar2002.html |url-status=dead |archive-date=October 25, 2009}}</ref> Shulman revisited "Silence Is Golden", breaking up the [[Swing (jazz performance style)|straight eighths]] of the [[Coda (music)|coda]] to make it more interesting.<ref name="bass"/>

Due to Manson's growing confidence and technical skill, the band decided that her vocals did not require much treatment; "Shirley was singing so much better, and she was coming up with melodies that were longer and had more range to them...there wasn't any point in doing a lot with it. On something like 'Nobody Loves You' she sings really low on the verse, almost at the bottom of her range, and then and the end she's singing three and a half octaves higher, almost in falsetto, as the song turns into a big wall of sound", Vig remarked.<ref name="SOS"/> Manson's original guide vocals were used in the final mixes of several songs; the vocal on "So Like a Rose" was recorded on the first [[take]].<ref name="SOS"/> On some songs, however, Manson's vocal was subject to Pro Tools [[plug-in (computing)|plug-in]]s and post effects. "Til the Day Die" featured a digital "[[Scratching|scratch]]"-effect, created by printing her vocal to [[Digital Audio Tape|DAT]] and using whatever edited passes sounded good. On "Can't Cry These Tears", the four vocal parts were [[Multitrack recording|triple-tracked]] using different mikes, while a [[guitar riff]] was matched to her voice for a section of "Breaking Up the Girl". On "[[Cherry Lips]]", her entire vocal was sped up and heavily EQ'd.<ref name="SOS"/> On slower songs such as "Drive You Home", Garbage were not overly concerned with [[Musical phrasing|phrasing]] and [[pitch (music)|pitch]], giving it "a rawer quality".<ref name="Soundbarrier"/> Manson improved on her guitar skills and played more guitar in the studio and live on stage for the eventual tour.<ref>{{cite web |url=http://www.mtv.com/news/1123595/garbages-shirley-manson-hints-at-heavier-new-album/ |archive-url=https://web.archive.org/web/20150117085346/http://www.mtv.com/news/1123595/garbages-shirley-manson-hints-at-heavier-new-album/ |url-status=dead |archive-date=January 17, 2015 |title=Garbage's Shirley Manson Hints At 'Heavier' New Album |website=MTV News |date=August 30, 2000 |access-date=January 15, 2015}}</ref><ref>{{cite web |url=http://www.nme.com/news/garbage/4328 |title=Manson Wields the Axe on New Garbage Album |work=NME |date=August 31, 2000 |access-date=February 12, 2015 |archive-url=https://web.archive.org/web/20150212142252/http://www.nme.com/news/garbage/4328 |archive-date=February 12, 2015}}</ref>

Garbage finished recording ''Beautiful Garbage'' at the end of April 2001, and spent a month completing the final [[Audio mixing (recorded music)|mix]] (some songs had gone through as many as 40 rough mixes).<ref name="SOS"/> Final EQ, compressing and [[Music sequencer|sequencing]] on the album was handled by [[Scott Hull (mastering engineer)|Scott Hull]] of Classic Sound in New York.<ref name="SOS"/> Despite running a competition on their website to name the album, Manson's own working title, inspired by a lyric in [[Hole (band)|Hole]]'s "[[Celebrity Skin (song)|Celebrity Skin]]", won out.<ref name="cs">{{cite magazine |last=Robinson |first=Peter |author-link=Peter Robinson (journalist) |title=Unforthcoming Attraction |magazine=NME |date=October 6, 2001 |issn=0028-6362}}</ref> Shirley explained: "We took the title from "Celebrity Skin" because when I heard [[Courtney Love|Courtney]] singing "beautiful garbage", it's like a great dichotomy and we nicked it. Yes, she knows, and we have her blessing".<ref>{{cite web|url=http://www.vanguardonline.f9.co.uk/interv3.htm|title=GARBAGE IN INTERVIEW; Shirley You're Joking|first=Ross|last=McGibbon|publisher=Vanguard Online|archive-url=https://web.archive.org/web/20050211002603/http://www.vanguardonline.f9.co.uk/interv3.htm|archive-date=2005-02-11}}</ref> The album artwork came from Garbage's wish for it to be "something organic"; The band came up with the fractured [[rose]] idea, thinking that it worked well with the album title. Garbage contracted London-based designers Me Company to [[Computer-aided design|create the visuals]].<ref>{{cite magazine |last=Bird |first=Ashley |title=Face To Face |magazine=Kerrang! |date=April 13, 2002 |issn=0262-6624}}</ref> The artwork for ''Beautiful Garbage'' cost $75,000.<ref name="TITNTKMA1">{{cite book| title=''[[This Is the Noise That Keeps Me Awake]]''|publisher=[[Akashic Books]]|year=2017|pages=121–23|isbn=978-1-61775-550-7}}</ref>