Synths: Alesis S4, Yamaha TG100, Boss DR660, Ensoniq Mirage
Mics: AKG D1000E, AKG 414
Editing: Sound Designer 2, Masterlist
Tracking: All instrument tracks were tracked direct to ADAT from synth sequences.
Tracks were separated for mixing flexibility, so the sequencer had to be synced to
the ADAT. I used two methods: I output midi clock from a BRC ADAT controller for two songs
and I used a JL Cooper DataSync to output midi time code to the sequencer for the rest.
(DataSync connects to an ADAT’s 9-pin sync output and converts to midi time code.)
Sequences were run multiple times while synced, with 1 to 8 tracks selected and all others
muted (to track more than one sequencer track at once, I used panning and aux outputs to
separate tracks). Mirage provided most movie samples. For five songs, vocals were overdubbed
using the 414 and a tiny bit of compression. The rest were overdubbed with the D1000E, no
compression (one track was recorded on with a bad board, bad mic, totally distorted, eq’d “telephone”
style…this gave the effect I was looking for). All tracks went to tape dry and flat.
Mixing: All mixes were done with 16 or 24 tracks ADAT and the Mackie 24×8.
The main mix inserts were routed through a dual tube preamp and then the BBE Sonic Maximizer.
Some kicks and snares were compressed. No vocals were compressed at mixdown.
Editing: Mixes were transferred digitally into Sound Designer 2, trimmed, and
some gain lowering was done (where there were only a few 0dB readings, I knocked them
down 1dB, so that they could be boosted in Masterlist)
Fade outs were added and songs were imported into Masterlist, where they were ordered, gain
corrected and transferred to a running master DAT. The DAT was sent to the pressing plant
for CD duplication.