Stanton Manor

studio

Based around a Soundtracs MRX series 32 channel desk and a PC running Cubase SX, this was the setup used for the recording and mixing of "Smoke and Mirrors".

Despite the prevalence of ProTools and Logic, we used Cubase as we've used it in its various incarnations since it was called Pro24 back in the late 80s. Tony still likes his Macs though, and remarkably can also navigate the mazelike Logic interface (Julianne loves it too). Horses for courses and all that.

We used the SSL Duende for all EQ and compression. It's an amazing unit that gives you 32 channels of SSL and has an unerring ability to make anything you put through it sound good.

Guitars and basses were all recorded direct through the desk from various preamps.

Vocals were recorded using either an Audio Technica 3035 or a bog standard 58. Depends who's singing. Same with violins.

We monitored mainly through Tannoy System 800s (cheap and nasty) with a 15" sub letting us know what was going on at the bass end (usually Tony!). Mix checking as always on the ubiqitous Yamaha NS10s and the car stereo.

Mostly mixed to two track in the box. Some things were flown out to the quarter inch Revox and back to digital for adding the nice things that tape adds (all over signal degradation, and a bit of compression).

Everything then gets sent to Andy to work his magic at the mastering stage. Go here to see the kit Andy uses.

Guitars
Steve

Washburn J-9 Washington
This has been modified slightly over the years. The pickups have been changed to GHS Liverpool Hots and and a push/pull pot added to switch the guitar to single coil for some of the clean sparkly stuff when needed. This goes to a Boss GT-Pro (a brilliant unit that has all the boss stompbox sounds with decent preamp modelling - Bob uses one of these on his violin too). Stereo out of this to a Marshall EL34 50/50 valve power amp and a Stereo Marshall 4x12. Most importantly - for loadouts, the 4x12 is the version that comes with wheels.

Fender Jaguar Baritone

Used for the scratchy filtered sounds on "Iron in the soul". Mainly used with Adoration.

Takamine G-Series Electro Acoustic

Used on "The Beauty of Science", Easy to play and sounds great - even better when plugged in.

Tony

Warwick Streamer Stage II

"I got this bass about 20 years ago. The pickups have been changed out for EMGs. You could throw this bass off a building and it would survive - and I have. For recording it goes through a Zoom B2.1u - this is just for delay and volume pedal. Then it goes to a Bass Pod which is the best bass preamp out there for recording - especially the sub-dub setting. This is controlled by an ADA midi controller pedal. For Live it pretty much the same with the addition of a Boss TU2 Tuner, with the whole sound going through an Ampeg SVT Pro head and an Ampeg SVT410HLF cab. Sometimes I'll use an additional Turbosound 18" cab for extra sub."

Fender Jazz

I've been using this recently on the new recordings. Jazz... Nice..."

Vintage Semi Acoustic bass (no name)

Found in a skip outside John Paul Jones house. This was used on "Iron in the Soul".

Andy

"I use a Levinson Blade super-strat with changed electronics. A Harmonic Design humbucker is in the bridge position (with a variable coil tap pot) & a firebird pickup at the neck. From there it's a 'manual' pedalboard: 2 different Seymour Duncan valve distortions (the blue one & the brown one), a wah, a Univibe, compressor, volume & delay pedals. A Fender Concert amp for shows & a little Fender Musicmaster Bass amp for recording."

Drums

Simon uses a hybrid electronic/live kit. Mesh heads and cymbals provide trigger impulses to a Ddrum brain which then sends midi to a laptop running Superior Drummer 2. Hi-hats are live and miked up. Simon also use midi footpedals for applying effects to the drum sound in real-time (such as the heavily compressed drum parts in sections of Gods Pride).

Keyboards