“OUT OF THE PAST” TECHNICAL INFO

The “Out of the Past” CD was recorded and mixed at Mark Doyle’s home using a Mac G-4 running Digital Performer 2.72 software and the Mark of the Unicorn 2408 Mk II hard disk recorder. Various vintage keyboards were painstakingly sampled into an E-MU E-6400 Ultra Sampler, including an Optigan, Wurlitzer electric piano, Chamberlain, Mellotron, Theremin, Vox Continental organ, etc. Guitars included a 1954 Fender Strat, a 1968 Gibson SG, a Takamine acoustic guitar, a Tama Papoose acoustic guitar, and a Guild B-301 bass guitar. Electric guitars were played through a 1963 Vox AC-30, a small Peavey Audition, or directly through a Line 6 Pod or a Digitech GSP-21. When the Pod was used, the signal chain was: electric guitar into an ART tube mic preamp, then into the Pod, then out of the Pod into a Joe Meek SC2.2 Photo-Optical compressor. Acoustic guitars and the vocals on Still I’m Sad were recorded with an Alessis AM-61 tube mic. The Guild bass was plugged into a DBX 161 compressor, which was then plugged into the Joe Meek compressor.
Drums and percussion were recorded by Richard Mendelson at Toxic Audio and Newbury Sound in Boston, MA and then looped. The majority of the drumming is by Keith Harris, although the more rock and roll stuff (“Moonlight Drive” and “Paint It Black/Eleanor Rigby”) is by the late Chris Yeoman. Ibrahima Camara plays a battery of Senegalese percussion. “Out of the Past”, “Politician”, “The Crystal Ship” and “Little Niles” have drums that were programmed by Mark, with occasional spots overlayed with some of Richard’s loops.

The record was mixed using Digital Performer automation and a Yamaha 01V digital board. Native DP plug-ins and the Waves Native Gold bundle were used (especially the Waves Renaissance EQ, Renaissance Compressor, Super-Tap Delay, and C-4) as well as the 01V on-board effects. The DAT mixes (of the original bit-stream from the 01V) were then transferred to BASF SM-900 ½ “ tape at M-Works in Cambridge, MA using state-of-the-art D/A converters, and subsequently mastered by Jonathan Wyner using the HDCD process.

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