Ok, this one is a little tuff to remember. We recorded Radar Love in 2004 and it did not hit the mixing console until 2006, so we will do the best we can!

Vocals: We used 6 tracks of vocals. 2 for the mains and 4 for the chorus and backups, all panned in stereo for each pair. Ok, i just solo'd the vocals on the mixing console and they were layed down to tape dry, which means we used the Art tube MP for all the vocals. All the vocals were recorded with a Audio Technica AT4050/CM5 into an Art Tube MP, but the "fixed track" on verse 1 used the same configuration with a Behringer Autocom compressor at the end of the chain. I just happened to have the "enhancer" on the Autocom turned up higher which gave it a little more brightness and presence for that one particular line we fixed. All the vocals landed on the 20 bit ADAT digital recorder. For the mix down, we processed the vocals in stereo with multiple processors. Lexicon MPX 1 on patch 109 and a little reverb from the Studio V2 Quad on patch 81 (user patch), both through the aux 1 and 2 on the behringer in stereo. The Behringer Autocom's were also inserted on the main vocals during mixdown. Also note: The 2 main vocals had 0 dry signal in the main mix, so everything was coming from the aux of the 2 processors. The backups were mixed with dry on the board and wet from the aux.

Distorted Guitars: Ok, This is what i remember about the guitars LOL. If Joe and Jas remembers anything different, please remind us! One track was done with the Carvin prior to us getting the Mesa tubed by Jim. So, that track had the original Mesa (Green) 6L6's and standard Mesa preamp tubes and we used a standard sm-57 on it. Ok, for the 2nd guitar track, if the amp was tubed by Jim at this point, it had the all Sovtek tube config in it. The 2nd guitar track was recorded with Joey and Jas and here is what i remember about that day. We wrapped the Mesa Trem with foam and used Joe's Vintage Sennheiser MD 441 mic with the PRS and used the Mesa oversized Cabinet. I thought we used the Carvin for both tracks but NOPE, I remember Jas and I had to manually punch/edit out a sustain ringing noise on the D-90 for all the spots where the guitars stopped. That guitar was alive LOL. I think we used the Red channel with the Spongy and normal (vacuum tube) settings.

Solo Guitars: Done in a hurry in 2006 LOL. For the explosive sound right before the solo, we used the USA Krammer American Pacer Custom 2 and beat the hell out of the Floyd Rose LOL. For the solo's, we used the Cort MGM into the Digitech GSP 2101 Studio Tube Preamp/Processor on patch 34 "Pyro Lead". LOL, we used the Head Phone out jack which has the amp simulator in it and went from it to the patch bay and then to the D-90. Generally, we would use the Balanced outs, but we were pressed for time. So, not sure if we were actually getting the right or left side of the signal from that headphone output jack LOL, but used it 2 times for the stereo tracks. 0 effects were used during mixdown, because it was layed down with them. All these tracks landed on the D-90 at 16 bit. Yes, we really needed a 24 track 24 bit recorder but they were less common back then.

Bass: We used the Black Ibanez bass and ran it into the Art tube then direct to tape. The bass tracks landed on the fostex at 16 bit. For the most part, the bass was mixed with no effects. Eq section: low cut out(pass through), bass - 80 KHz +3 DB, Low mids - 550 KHz Minus(-) 8.5 Db's, hi mids - 450/500 KHz + 6 db's, Hi - 12 KHz +4. I found this EQ section interesting! Does anyone else see why? The low mid and hi mid? They were dialed in very close to the same frequency, but one was pushing Db's and the other was cutting Db's!

Drums: For the drum tracks we used a Roland TD-8 digital kit. We were pressed for tracks so we only used the Main outs and used 2 tracks in stereo. We added a bunch of reverb from the Digitech Studio Quad V2 on patch 81.

Mixing Console: We used a Behringer 9000 for the final mix. Ran it into the T.C. Electronic Finializer Plus at 44.1, thru the dat at 44.1 via SPDIF, and into the Soundcard Via SPDIF. Normalized to 0 in Sony SoundForge 7 and saved as .wav and then .Mp3 for the web.
Recorders: We used a Fostex d-90 16 bit at 48 KHZ which was synchronized with the Alesis ADAT 20 bit at 48 Khz.

Engineers/Musicians: Greg Dunsmore, Jeff Dunsmore, Joe Sewanich, Eric Cralle and A Special thanks to Jaison Jamison for helping us record and edit!
*REMEMBER - This is a Lost Souls Band home recording!