We used the A room, as it was big enough to put up to ten musicians in a big circle, with minimum gobos and no headphones. We set all the volumes we could to be just a hair quieter than the drum kit, hoping we didn’t overpower the three U67s we set up next to Bobby, Corey, and Carey. An M49 was set to the back side of the room to capture the room ambience, but with that many instruments playing simultaneously in one space, the bleed from just our close mics, which was enough to be considered beefy, and the circular setup of the musicians, gave a nice live balance — the floating sound was realistic enough for everybody.”
“I met co-engineer Leslie Richter at Ocean Way Nashville and told her that we wanted to record to two-inch, live, no overdubs, the whole album, in one day, and she seemed up to the challenge. We decided to keep the signal chain real simple — just cutting everything through the Neve 8078 console, with minimal EQ or compression treatment until the mixing stage. Since time was tight, we’d take a few runs as she copied us over into the Pro Tools rig, running at 44.1kHz.