"My console is an Amek Mozart console. It's a 48-input. I have an Otari RADAR, which is a 24-track digital. I also have a 24-track analog, although we didn't use it. We went all digital and I have every known gadget known to mankind in terms of effects boxes and compressors and microphones, just your regular array of tools. On this album, we used a Kurzweil K2500 a lot and an Akai 900 and the SADIE system, which I used a lot for sampling. And we must have used 15 or 20 different Marshall heads to get one we liked. I don't think there's a make out here we didn't try--everything from Mega/Boogie to Marshall to old Gibson to Fender, Hiwatt, Vox--you name it."

The Method To The Madness

"Story of 100 Aisles"

"When the guys came off the road, that was one of the first songs they played. It could have been on the NAVEED record. So when Mike played it on guitar, I said that sounds like I've heard it before, why don't I take Raine's voice, double it, put one out of phase, introduce the one in phase as we go up--that's why when you hear his voice at the beginning, it sounds really small and brittle."

"Clumsy"

"At the beginning, we recorded a sampled piano, put it into my workstation, screwed around with the motion--in other words, instead of going left to right, we'd stop it, start it, stop it, start it, so that it sounded like a toy piano. We EQ'd it, put it in the space and made it sound like someone just stepped on it. There's one part in the song where we had that middle breakdown. We didn't want to do a guitar, because we wanted the guitar to keep playing and the band wants to be able to play everything live, so that was like a turning point. We tried a whole slew of things and one night, I said, let's pick up the 58, we'll sing into an Eventide 4000, which is an effects processors, found a couple of patches, fooled around with them, and tried to emulate a cross between a guitar and a kazoo, but with the effect of the voice."