Alan and Paul then threw themselves into serious mixing until the Xmas break, followed by an intensive month of tweaking during January 2007.  The mastering was undertaken during February and March by Simon Heyworth.  Alan and PK made a special trip to Simon’s studio in Devon to further delve into the dark art of transferring their studio sound onto CD.



“We spent a lot more time on this part of the process than I’d anticipated - and it was a real eye-opener (should I say ear-opener).  Many people will be familiar with the current volume war that exists.  In other words, how much apparent level can you get onto a CD?  I didn’t want to get too involved in all that since this involves incredible amounts of digital limiting or compression.  The cut we ended up with isn’t particularly ‘loud’ but does, hopefully, retain all the dynamics - something which seems to be sorely lacking in today’s music culture.”



During the early part of February, the album was also mixed for 5.1 Surround Sound by Alan and Paul at The Thin Line and finally mastered, again by Simon (who was responsible for the recent Depeche Mode 5.1 mastering).  Mixing in 5.1 is particularly  advantageous where Recoil is concerned - the result being an all-encompassing environment that seems to envelope the listener and allows them to fully appreciate the myriad of sounds and effects that make up each track.