Kurt Ballou: Inside Converge’s “I Can Tell You About Pain” Guitar Tones

Nail The Mix Staff

Let's face it, the guitar tones on Converge's "I Can Tell You About Pain" are absolutely ferocious. They're raw, biting, and sit perfectly in that chaotic, aggressive mix Kurt Ballou is renowned for. Ever wondered how he wrangles that kind of six-string fury? Luckily, Kurt himself broke down his setup for this track, and it’s a masterclass in smart gear choices, practical micing, and a no-nonsense approach to getting sounds that work.

Forget overly complex signal chains; Kurt’s method is about finding the right tools and knowing how to use them. We're diving deep into his amp choices, speaker pairings, mic techniques, and even how he captures that signature Converge feedback. If you want to learn how the pros sculpt tones that define a genre, you're in the right place. And if you're serious about taking your metal mixes to the next level, seeing this stuff in action from start to finish is invaluable – something you get with Nail The Mix.

The Core Dual-Amp Assault: JMP & The Sparrow Sun

For the main guitar attack on "I Can Tell You About Pain," Kurt relies on a classic two-amp setup, each pushing its own Emperor 6×12 cabinet. This isn't just about volume; it's about blending distinct tonal characters.

The Marshall JMP: A Modded Classic Roars

At the heart of the first guitar layer is a Marshall JMP. This isn't just any JMP, though. Kurt had his buddy Scott from S&K Pedals (who used to work for the legendary amp tech Dennis Kager) work it over. A key mod was fitting it with a set of Phillips 6CA7 tubes – the American equivalent of EL34s – which really brought this amp to life for Kurt, making it one of his favorites.

  • Speaker Pairing: This JMP slams into an Emperor 6×12 cabinet loaded with a variety of speakers, but the mic'd positions specifically feature Eminence Texas Heat speakers. Kurt notes the Texas Heat is probably the speaker he records most and considers his favorite.
  • EQ Philosophy: When dialing in the JMP, Kurt isn't aiming for a modern, full-frequency sound. Instead, he's going for a "laser beam that cuts through the middle." It’s all about mid-range punch and presence, characteristic of EL34-equipped Marshalls. There’s no channel EQ engaged on the console for this amp, letting its natural voice shine.

The Sparrow Sun: A Unique Counterpart

Paired with the JMP is a more unique beast: the Sparrow Sun. This is a custom amp built by Sparrow Suns Guitar Shop in Belarus. The owner, a fan and friend, sent one over for Kurt to check out, and it clearly made an impression.

  • Speaker Pairing: The Sparrow Sun also feeds an Emperor 6×12, this one loaded with Eminence Swamp Thing speakers in the mic'd positions.
  • EQ Tweak: Taming the Sizzle: One crucial adjustment Kurt makes, particularly noticeable on amps like the Sparrow Sun, is tackling high-frequency "sizzle." He often finds a problematic area around 11kHz. Instead of using a low-pass filter, which can dull the overall sound, Kurt prefers a surgical notch filter. This allows him to remove the offending frequency while keeping the "air" around the guitars. It’s a great example of precise problem-solving with EQ strategies for modern metal.

The Guitar: First Act Sheena with EMG Hetfield Set

While Kurt mentions using various guitars with Lawler Imperials or Bare Knuckle pickups on other songs from the record, he's pretty sure "I Can Tell You About Pain" features his First Act Sheena. This guitar is loaded with an EMG James Hetfield bridge pickup.

If you're wary of EMGs, Kurt suggests the Hetfield set might change your mind. He describes it as having significantly more low-mid push and "meanness" than typical EMGs. It's less organic or "subby" than many passive pickups but avoids the "clinical" sound some people associate with active pickups, while still retaining the qualities EMG fans appreciate. For Kurt, it's a pickup that "has everything."

Layering and Width: Guitar Two and Room Mics

To create the full, wide guitar sound Converge is known for, Kurt doesn't just stop at one guitar performance.

Guitar Two: Same JMP, Different Partner (Ampeg V4)

The second main guitar track mirrors the first in some ways but introduces a key difference.

  • The Marshall JMP setup (amp, cab, speakers) is identical to guitar one, just panned to the opposite side for stereo width.
  • However, instead of the Sparrow Sun, the second amp for this layer is an Ampeg V4.
  • Just like the Sparrow Sun, the V4 also benefited from an EQ notch around that 11kHz mark to clean up any unwanted sizzle.

Capturing Space: The Room Mic Strategy

Room mics are crucial to Kurt's guitar sound, adding dimension and a sense of space.

  • Main Room Mics: Interestingly, the main room mics for the guitars were often the same mics used as the wide drum room mics – a pair of omnidirectional TC30Ks mounted on the wall. Kurt mentions he likely kept the entire drum room mic setup patched in with the same settings for convenience and, more importantly, for sonic cohesion. This puts the guitars and drums in the same acoustic space, even if it's a subtle, "academic" touch.
  • "Alt" Room Mic: For additional width and a different flavor, Kurt used an "alt" room mic. This was a haphazardly placed dynamic mic on the other side of the room from the amps. It’s panned opposite the close-mic'd guitars and helps simulate the kind of guitar bleed you'd get in a drum mic in a live room setting. It’s particularly effective for adding a bit of stereo spread when a single guitar part is playing, ensuring it doesn't sound completely mono. These room mics are mixed in to add air, not to dominate the sound.

Taming the Chaos: Recording Feedback Like a Pro

Feedback is an integral part of Converge's sound, but it’s not just random noise. Kurt has a method for capturing it.
He often records takes in the live room, standing in front of the cranked amps, using extreme isolation headphones to monitor. This allows him to capture the raw energy and natural feedback. He'll then do separate takes in the control room for sections requiring more precision. Finally, he comps between these "wild" live room takes and the "precise" control room takes to get the best of both worlds.

Practical Feedback Tips from Kurt

Getting good, musical feedback isn't black magic. Kurt shares some practical advice:

  • Volume is Key: Turn the amp up loud and stand in front of it.
  • Playing Dynamics: Hitting the strings harder initially outputs a stronger signal from the guitar, which takes longer for feedback to overwhelm. A lighter touch, or letting a note sustain and die down, will allow feedback to bloom much quicker.
  • Muting: Muting the strings effectively is crucial for controlling squealing feedback. Letting strings ring open encourages more resonant, blooming feedback.
  • Physical Interaction: Resting the guitar neck against the speaker cabinet can encourage resonant feedback.
  • Pedal Choices: Sometimes, a different distortion pedal, or a brighter/higher gain setting on the usual pedal, can be more conducive to generating feedback.

Ancillary Layers: The Peavey 6534 Punch

Beyond the main rhythm guitars, Kurt sometimes uses a Peavey 6534 (the EL34-equipped version of the 6505 circuit) for supplemental tracks. Despite having "shit-talked" high-gain metal amps in the past, he was impressed by the 6534's mid-forward, mean, yet still organic and present character. For these ancillary parts, the micing setup is often simplified, prioritizing speed and getting ideas down quickly over achieving the "ultimate tone" he meticulously crafts for the main layers.

Kurt Ballou's Micing Philosophy: Clarity and Control

Kurt’s approach to micing guitar amps is born from years of experience and a desire for focused, powerful tones.

Go-To Mics for Heavy Guitars

Kurt has a roster of favorite mics for capturing guitar amps. You'll often find him using:

  • Heil PR30
  • AEA N22
  • Shure SM57s (various types)
  • Sennheiser MD421s
  • Sennheiser e609/409s
  • Royer R121s

Typically, for the main amps, he’ll use two mics on each cabinet, which are then bussed together to a single track on the way into the recorder.

The Art of Multi-Micing: Less Can Be More

If you're new to micing amps, Kurt advises starting with one good mic in one good position. Get that sounding great first.
When he does use two mics on a cab, his philosophy is crucial:

  • Choose Different Mics: Pick two mics that sound very different from each other (e.g., a dynamic like an SM57 and a ribbon like an R121).
  • Choose Different Positions: Place these mics in different sounding spots on the speaker. For instance, the SM57 might be right on the edge of the dust cap (a brighter spot), while the R121 might be at the edge of the speaker cone, possibly angled (a darker spot).
  • The Goal: This creates a sort of "bass and treble control" with the microphones themselves. Because the mics and positions are so different, they have less problematic phase interaction than, say, two identical mics placed side-by-side.
  • Commit: Blend these two mics to taste and commit to the sound on the way in, either through an analog console or by bussing them to a single track in your DAW. This makes decisions early and frees up resources.

A Quick Phase Alignment Tip

Though he mentions not needing to do it for the guitars in this particular session, Kurt shares a handy trick for phase-aligning multi-mic'd sources, especially bass. If you don't have a DI signal to create a short transient blip from, he'll take a screwdriver, start recording, and tap the pickup of the bass guitar. This creates a sharp, clear transient across all the bass tracks (DI, amp mics, etc.). He can then visually (and aurally) zoom in on these transients and nudge tracks forward or backward by tiny amounts to achieve optimal phase coherence.

Bringing It All Together for Converge's Intensity

Crafting the guitar sound for Converge's "I Can Tell You About Pain" is a deliberate process involving:

  • A powerful dual-amp setup (Marshall JMP, Sparrow Sun/Ampeg V4).
  • Specific speaker choices like Eminence Texas Heats and Swamp Things in Emperor 6x12s.
  • The right guitar and pickups (First Act Sheena with EMG James Hetfield set).
  • Strategic EQ to tame fizz and enhance presence.
  • Clever room micing for width and cohesion.
  • A practical approach to capturing intense, musical feedback.
  • A thoughtful multi-micing philosophy that prioritizes distinct tonal contributions over just adding more mics.

These are the kinds of details you get when you dive deep into a pro mix. Imagine learning these techniques directly from the source, watching Kurt Ballou mix Converge from start to finish. That’s what Nail The Mix offers. If you want to truly understand how iconic metal albums are crafted, from tracking to final master, seeing pros like Kurt work is invaluable. For an even broader look at modern metal mixing techniques beyond just presets, explore our Unlock Your Sound: Mixing Modern Metal Beyond Presets guide.

Try experimenting with these concepts in your own productions. Understanding the why behind Kurt Ballou's choices can help you develop your own killer guitar tones. Ready to go deeper? Join the Nail The Mix community and learn directly from the engineers behind your favorite metal albums.