Jag Panzer – Ample Destruction 2LP

40th anniversary edition, new cover art, ltd 300, original mix 1984 (LP1) + remix 1989 (LP2) version, 7mm spine 425gsm heavy cardboard cover, A1 tour poster, lyric sheet, 8 page booklet Remix Version: Mastering and audio restoration by Patrick W. Engel at TEMPLE OF DISHARMONY in 2013.; Original Mix Version: Mastering and audio restoration by Patrick W. Engel at TEMPLE OF DISHARMONY in 2020. The history of a metal classic: AMPLE DESTRUCTION – Versions 1.0 and 2.0 Through the years the 1984 debut album of JAG PANZER was reissued many times – with official and unofficial versions. The original LP was released by AZRA/Iron Works who also did the Jag Panzer EP in 1983. Collectors already know that this label was not just offering a LP and maybe an additional single, but tons of various shape discs and specials, most in small quantities. AZRA/Iron Works got kind of famous for that in the metal scene. The secret behind this form of marketing is that the owner, David Richards, was able to produce all those shapes in his basement. A nightmare for collectors today… Not many fans know about the two different mixes of AMPLE DESTRUCTION. So its time to talk with Mark Briody. About less known facts and nerdy details. Please let us know about the recording studio. Was it 24-track? And how do you remember the other equipment? “It was a Tascam 16 track tape deck. He also had a Tascam board. For reverb he had an actual plate reverb, it was this huge big metal plate by the wall. He had SM57 and SM58 microphones. We rented a few high end microphones for cymbal overheads.” How many days did you spent recording the album? ” It was 8 or 9 days, but they weren’t full days. The studio was pretty busy back then since it was the best studio in town. So we got in whenever we could for a few hours.” Were parts of the LP recorded live? Did you use any form of clicktrack back then? “Rhythm tracks were live, but my rhythm guitar parts didn’t come out so great (sound quality), so I re-cut most of them. The drums were in the main room, Joey’s amp in the vocal booth, John’s bass amp in the bathroom (with lots of cardboard boxes to damped the sound). My amp was placed in the stairway entry to the studio. There was a weird echo and tone with my rhythms, but we kept those tracks and I did another version of them with my amp in the vocal booth. There was no click track, however the songs I wrote were always to a tempo and Rick (drummer) and I had both played for years in school jazz band where we did play to a metronome. We were pretty good about keeping time.” “Black Sunday” was not a part of the original album. Was it recorded in the same session? And what were the plans for that track? “It was recorded in the same sessions but always intended to be a bonus track. Back then everyone told us that we should always have a bonus track. Looking back I wished we spent the time on the mix and not recording an extra song.” The album was released with what we now call “the original mix” or “the first mix”. Compared to many other LPs on independent labels, it was already offering a good and powerful sound. So what was leading to the remix and when and where did it happen? “We had no time for the original mix. Maybe 1 hours to 2 hours for the whole album. Considering the time it takes to assemble a master we only had maybe 5 minutes each song to mix. So basically the sound was the mix we had been tracking to. I think Tom did an amazing job on the mix, but there is only so much you can do with that short of time to mix.” What was the first version with the new remix? “Part of the Metal Blade reissue deal was that they paid for 2 days to remix. So instead of 2 hours to mix we now had 16 hours.