In the stu­dio with Mykaell Ri­ley

Future Music - - FILTER -

“The al­bum was made in [Is­land Record’s Ham­mer­smith stu­dio in] St Peter’s Square. They had a He­lios con­sole – we’d never seen such a mas­sive desk at the time. It was like Star Trek, which is how we re­ferred to it – lots of but­tons, lots of lights. They also had lots of great dub gear, like the Space and Cho­rus Echos, an Echoplex, spring echos, and a Bin­son Echorec Baby, with tape in­side. We also got to use Fender Pre­ci­sions and Tele­cast­ers, a Rhodes, and a Ham­mond or­gan. The mics were Shure 57s and the old Elec­tro­voice RE20s, and the speak­ers were JBLs for mon­i­tor­ing, and then Tan­noy Reds and some Au­ra­tone speak­ers, which we hated as they had no bot­tom end, but the en­gi­neer swore by them. They re­ally made us un­der­stand how our mu­sic would work on the radio, so that was an ed­u­ca­tion. We recorded onto 24-track, but there was a whole ar­gu­ment over which tape we should use – each one re­pro­duced or com­pressed bass dif­fer­ently. Then it was all cut and spliced by hand to edit it down.”

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