|The album was recorded at Monnow Valley studios, just outside Monmouth in South Wales. The studio features a very large live room and a separate control room housing the SSL mixing desk, the Pro Tools computer system and the sound processing gear.
The same guitar gear set-up was used throughout the recording phase of the project. Three 4 x 12” cabinets, two Laney and one old Marshall, were placed side by side in the live room, separated by large acoustic baffles. The Laney cabs were loaded with the old HH 41211 drivers (very similar to the Celestion G12 75) and the Marshall with Celestion Vintage 30s. Each cab was miked by one Shure SM 57. The amps were set up in the control room. There were five amp heads stacked up, two Laney GH 100 TIs, one Laney TT 100, one Paul Reed Smith modified Marshall JCM 800 and one vintage Vox AC30 head. Also in the control room was a small M C Electrics effects board with full bypass switch. The guitar effects used were; Boss Over Drive, MXR Phase 90, AnalogMan Chorus, DOD Octave divider, Tycobrahe Parapedal wah, Ibanez flanger, Boss delay, Jim Dunlop Rotovibe, Jim Dunlop Univibe.
The signal path was guitar into M C Electrics A/B switch (to allow routing to Korg rack tuner), into the bypass switch on the effects board, then into a Pete Cornish active splitter/ground-lift unit, then out to whichever combination of amps was being used and finally out to the cabinets via heavy gauge speaker cables.
The recording can be split into 3 main phases: tracking, solos and overdubs.
For tracking, most songs used the Laney TI100s and Marshall amp heads and a combination of Gibson Custom Shop Iommi model SGs and Les Pauls. Generally the SGs had lighter strings and the Les Pauls heavier. Different guitars were used as some songs were in D# and some down to C# with low strings sometimes going down to A#.
Most solos were played on the JayDee ‘Old Boy’ SG, though an Epiphone Iommi SG fitted with Gibson P94 pick-ups and a Fender American Deluxe Stratocaster were also used. These were played using the Laney TIs and the Marshall.
The overdubs used a selection of the amps depending on the sound required. Cleaner bits used mostly the Vox head though some used the clean channel of the Laney TT100. This is where most of the modulation type effect units were used. Guitars used here were mostly the Iommi Custom Shop SGs, the P94 loaded Epiphone Iommi SG, a Fender Telecaster, a Fernandes Sustainer and the Strat.
The acoustic parts were played on a Taylor 815L, a Gibson J 50 and an Epiphone PR 350CE.