We ended up concentrating on two recordings we had, The Concorde from Brighton and the Essigfabrik in Cologne. We chose the Brighton concert because it is our hometown, and the sound desk that they have meant that we could separate each track and mix it like an album (each track is live, but it meant we had some control over drum sounds and microphone levels) The Cologne gig was just a recording straight from the desk – we couldn’t mix it or mess with it, and we thought it sounded great, so we used that one too.
Drummer Alex White was the man behind the mixing of the Concorde show (“he set the desk up at the show itself and took the tapes away to mess around with” Hamilton explains), which was recorded onto a digital desk with each track separated and converted into Pro Tools files and later mixed through a Neve desk in The Metway studio. And the band’s sound engineer Ric Peet (who was in band in the ’90s called Candyflip) recorded the Cologne show via an iPod stuck into the mixing deck. “We didn’t touch it afterwards” Hamilton says, “it is exactly the same as the gig”.