Quote of Brian Reitzell in Tape Op talking about what equipment was necessary for him to record:

"Well, again, it would probably all be instruments, because as much as I love technology, I think all that stuff is replaceable. Or, if you lose it, maybe you're not meant to use it anymore. I try not to be too reliant on any one effect, one sound, or one process — or I'm screwed, you know? Though if I could leave here with my Trident Fleximix console, my Nagra 2-track, and one of my Neumann mics, then I guess I could actually do the record. "

Ryan Moore of the group notes the Fleximix and shows it in his studio in this tape op article.

quote from Sound on Sound article "The centrepiece of the studio, meanwhile, is a custom Neotek Elan TT 32‑channel console, a recent replacement for a Trident Fleximix 10‑2 that he sold to LCD Soundsystem’s James Murphy. “He’s obsessed with those desks and his production sounds great, so I probably made a mistake,” he laughs. “It was only 10 channels and I used it for tracking and mixing but it was like having a stick of butter with every meal. It was too much! It was so old I’d work all afternoon trying to get a bass sound right and I’d lean on the mixer and the whole profile of the sound would change."

From a interview on remixmag.com that is only accessible by way back machine.

"Hardaker: It's so much easier to save everything so you can constantly change shit as you go along. Before, editing multitracks wasn't easy. We mix most everything off Pro Tools, but we have a cool old Trident desk that's fucked up and dirty; it's just nice to have the music run through something that's got more character than an average Mackie board. You can hear the generic sounds of Mackie desks, Pro Tools and all the plug-ins all over records now. It's a real turnoff."

"What are you bringing to your remixes, then?

Binns: I always hope that we put a spin on them — do something that's different, that's good to listen to but contrasts with what the song was originally.

Hardaker: A couple of the remixes we did took us toward what we did in the album. We were just messing about. We didn't have a strong sense of direction. I don't even know if we do now.

the equipment equation

MIXER Trident Flexi Mix 32-channel monitor board

COMPUTERS Apple Macintosh G3 Atari 1040 ST (“We run all the sequencers off the Atari. It never crashes, unless you knock it on the ground.” — Hardaker)

SOFTWARE Digidesign Pro Tools 4.3

SAMPLER Akai S5000

MIC RCA 77DX tube microphone (borrowed from Godrich)

SYNTHS/KEYBOARD

Roland Jupiter 8 Roland Juno 106 Jen Synthetone SX-1000 (“It's like a Moog, but even more shit. Next to it, Moog is like a Rolls Royce,” says Binns. “Of course,” adds Hardaker, “it's all over our album.”) Clavia Nord Lead 2 (“It never gets used,” says Hardaker. “It's a new synth that's supposed to be like old synths.”) Fender Rhodes electric piano Wurlitzer electric piano

OTHER SOUND SOURCES

Fender Squire short-scale bass guitar “Thousands of records”

in interview with resolutionmag.com

"Harcourt’s rooms are crammed with vintage keyboards, unusual instruments and a drum kit, and he records using a variety of new and old microphones, a Trident Fleximix console and Logic Pro."

in interview by remixmag.com only accessible by way back machine.

"What are you bringing to your remixes, then?

Binns: I always hope that we put a spin on them — do something that's different, that's good to listen to but contrasts with what the song was originally.

Hardaker: A couple of the remixes we did took us toward what we did in the album. We were just messing about. We didn't have a strong sense of direction. I don't even know if we do now.

the equipment equation

MIXER

Trident Flexi Mix 32-channel monitor board

COMPUTERS

Apple Macintosh G3 Atari 1040 ST (“We run all the sequencers off the Atari. It never crashes, unless you knock it on the ground.” — Hardaker)

SOFTWARE

Digidesign Pro Tools 4.3

SAMPLER

Akai S5000

MIC

RCA 77DX tube microphone (borrowed from Godrich)

SYNTHS/KEYBOARD

Roland Jupiter 8 Roland Juno 106 Jen Synthetone SX-1000 (“It's like a Moog, but even more shit. Next to it, Moog is like a Rolls Royce,” says Binns. “Of course,” adds Hardaker, “it's all over our album.”) Clavia Nord Lead 2 (“It never gets used,” says Hardaker. “It's a new synth that's supposed to be like old synths.”) Fender Rhodes electric piano Wurlitzer electric piano

OTHER SOUND SOURCES

Fender Squire short-scale bass guitar “Thousands of records”"

Mention in this article "I love Trident as I used to work at Le Studio Morin-Heights where they had the first of the original thirteen A-Range consoles in North America. I have a set of four Trident Fleximix modules that I purchased from eBay and am told that they came out of Queen’s first touring desk. I’ve had these modules for fifteen years now and they sound fantastic. They have a unique clarity that sees them used on hi-hat, tom toms, ride cymbal and acoustic guitar. In fact, they are permanently routed from those drum mics. They’re crystal clear, and have 3-band EQ with a parametric mid-range, and they’re nicely made so they don’t break down."

In a interview Manwaring mentions he worked with the Human League on Travelogue which was mixed on a Trident Fleximix