Jamie Hince

recording engineer Bill Skibbe: “Baby Says” – that modulating guitar sound, and a lot of the tone in that, comes from this old Maestro Rhythm & Sound pedal, which is more of a suitcase than it is a pedal. It comes in a big Samsonite suitcase [laughs]. They''re awesome because they have the original Maestro Fuzztone in them, and then they have two tone stops that going along with that, and they''re unreal sounding. They also have insane modulation that I always think of as like an African Manu Dibango sound—this messed-up, fuzzed, modulated crazy sound. It''s also got an Auto-wah in it, and a bass synthesizer, which we didn''t use because it doesn''t track very well. It really blended well with the Twin. It''s an effect that you can''t get out of a tremelo that''s on an amplifier.

recording engineer Bill Skibbe: "The Model 92, I don''t know if Jack Douglas used that on Double Fantasy, but that was around three thousand bucks when it was new, and it was advertised as this “new portable delay line by Lexicon”—for three thousand bucks, in 1977! But they''re great. As you get further out on the delay line, it gets grittier and grittier because it''s running through more chips along the way and slowing down the time, so you get that signal loss and distortion that creeps in. They don''t sound as clean as PCM technology. It''s a lot more of a real honest delay."