Primary rhythm instrument. Kick, snare, and hi-hat were programmed directly on the DrumBrute Impact and recorded independently through their mono outputs in three live passes. Consistent velocities were intentional, preserving the rigid, machine-like character heard in the original recording.

PATH: DrumBrute Impact → Clarett+ 8Pre → ADAT → Apollo Twin X → LUNA Pro

Used exclusively to recreate Matthieu Hartley's distinctive keyboard counterline. The patch was created from scratch and developed a subtly unstable, wobbly character. The part was performed live rather than sequenced, contributing a human element to the arrangement.

PATH: MicroBrute UFO → Clarett+ 8Pre → ADAT → Apollo Twin X → LUNA Pro

Six separate parts were recorded. Five assumed roles originally performed by guitars, while a sixth provided additional embellishment during the major crescendo.

The synthesizer replacement was discovered through experimentation after previously recorded guitar parts failed to coexist naturally with the electronic arrangement. All MiniBrute patches were created from scratch, sequenced, and recorded in mono.

PATH: MiniBrute 2S → Clarett+ 8Pre → ADAT → Apollo Twin X → LUNA Pro

Primary bass instrument, played live throughout. The performance closely follows Simon Gallup's original arrangement while incorporating Jack's own playing style. Both pick and finger techniques were used.

Standard E-A-D-G tuning. D'Addario EXL160M medium-scale nickel-wound strings, .050–.105 gauge.

DI PATH: Thunderbird → RNDI-M → Apollo Twin X → LUNA Pro

AMP PATH: Thunderbird → RNDI-M THRU → Fender Rumble 40 → SM7B → TB12 → WA76 → Apollo Twin X → LUNA Pro

Both signals were recorded simultaneously.

Used to record the amplified bass signal. Vintage and Contour modes were engaged; Bright and Overdrive were off. The amplifier was dialed toward a clean, balanced tone, leaving heavier compression and distortion for mixing.

The SM7B was positioned very close to the grille and aimed at the boundary between the speaker's dust cap and cone.

Used exclusively on the Fender Rumble 40. Both onboard tonal switches were left flat. Several microphone positions were auditioned before settling on a close placement at the dust-cap/cone boundary.

Used for the lead vocal and one additional harmony vocal part during the song. Cardioid pattern, with high-pass filter and pad disengaged. Vocal distance was approximately 9–12 inches, with a pop filter approximately 6 inches from the capsule.

PATH: WA-87 → TB12 → WA76 → Apollo Twin X → LUNA Pro

Provided additional inputs for the Arturia instruments. Air mode was off. Configured using Focusrite Control and connected to the Apollo Twin X through ADAT optical. The Clarett+ served as digital clock master.

Used exclusively with the Thunderbird bass. Speaker mode was off. Phantom power was supplied by the Apollo. The THRU output fed the bass amplifier while the DI signal was captured simultaneously.

Primary audio interface and headphone monitoring system. Received analog sources directly and additional inputs from the Clarett+ over ADAT. External clock source was ADAT. No Apollo-based effects were printed during tracking.

Used for the WA-87 vocal and SM7B bass-cabinet recordings. Settings were adjusted independently by ear. Gain was driven moderately, prioritizing clean capture with some analog character. Extensive tonal shaping was reserved for mixing.

Used on the vocal and bass-cabinet recording chains. Primarily controlled peaks while adding desirable 1176-style coloration. Estimated gain reduction varied around 2–5 dB at more active moments. Settings were adjusted by ear. All-buttons mode was not used.

The complete production was recorded, edited, automated, mixed, and exported in LUNA Pro. Session format was 48 kHz / 24-bit at 111 BPM. LUNA supplied MIDI clock to the hardware sequencers and drum machine. Native summing and tape processing were used during mixing.