[ a non-commercial project ]
The multitrack recorder was an unmodified 4 track Teac 3340S. The 1/2 track mastering machine was a Revox B77 with varispeed. Both machines were meticulously aligned for use with MAXELL UDXL back coated tape (1.5 mil). The recording speed was 15 ins. No noise reduction of any kind was used with the exception of an M.X.R. noise gate an the noisier sound sources. The levels on to tape must be found very carefully for best Signal/noise ratio. The echo was an Akai 4000DS set to 3% ips and bouncing between tracks for a Stereo return. The reverberation consisted of 2 Accutronics and 2 Hammond spring units wired 1 Acc. and 1 Hamm. in parallel for each of the Stereo returns. There is only a mono sound, in a similar manner to the EMT plate echo.
The mixing desk is a 5 channel Home built unit. Two band equalization echo sound and A or B channel auxiliary Outputs on each channel.Stereo Outputs and a Stereo auxiliary input, feed two PPM's. Microphones were a pair of the cheaper Calrec condensers and a 'Shure unidyne II!. Two external, cheap graphic equalizers made by 'Macdonald' were also used. Effects used on recording and mixdown were predominantly exten-sively modified. Electro-Harmonic guitar pedals i.e. The 'Echoflanger' and the 'Electric mistress' plus a 'Deluxe Memory Man with Chorus'.* Compressors were two hörne built units based on a very simple design published in 'Practical Electronics' for use with guitars. These were not used on any mixdowns, only sources.
*This was used for the Stereo ADT return, aftereq.ing.

Drums and percussion were all synthesized with a mixture of a home built rhythm unit, compressors, noise gates, eq, and the excellent 'wasp' synthesizer. The crash cymbal is a rivetless 'Standard zyn'. All instruments except guitars and voice were also pjayed on the 'Wasp' which has been very slightly modified. The recording process was the usual 4 track recording mixed to a Stereo, pair on the Revox.This Stereo recording is taken from the Revox and placed on the Teac, leaving a backing track on tracks 1 & 4 and 2 spare tracks 2 & 3. Two more instruments are added and the process repeated. A series of tones were recorded before the first transfer and copied on each successive transfer. Any change in frequency response is then detected and rectified with the graphics on the next mixdown. Bouncing from Sync. is improved by use of an 18 db/octane Iow pass filter turning over at 15 khz, a higher level is then available for transfer before 'bias breakthrough' on the two adjacent tracks. Monitoring is via 2 x Quad II value amps and B & W DM 2A Speakers. Guitars were 'H.T.S. customs'. Amps were 'VOX AC30' and Bird Bros. 56 Bandstand combo. The room 10 x 8 . The main components however were time*, fun and worry. *Approx. 90 hours over 3 weeks.

The music featured is a ZERO SEVEN Production. ZERO PASS SEVEN is represented by R.A.P. at 20 Great Portland St London Wl.

3 May 1979 Answers "Worry'; Design: Ansell/Sadgrove
(P) 1979 Virgin Records Ltd.
(C) R.A.P.

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