Whim was recorded digitally at 24 bit 44.1 KHz into Digidesign Pro Tools Mix software snuggled in an Apple Macintosh. Most tracking utilized an apogee digital audio converter front end, and remained digital until mastering, where analog filtering was utilized. Radio Free Bessemer was "home court" for the recording. The studio is a converted garage nestled in the San Fernando Valley in metropolitan Los Angeles. The garage conversion took place sometime in the early 60's, to provide a rehearsal space for singer Pearl Bailey, whose musical director was the original home owner. A complete renovation was done in the 90's to bring it to 'spec.'.
The microphone selection in this home studio is remarkable. Thanks to the acquisition of a collection of vintage tube mics manufactured by AKG. Most notable are the pair of C12's, which served as vocal microphones and drum overheads. Pairs of C28's, and 451's round out the condenser choices. The rare D36 and D25 dynamic microphones saw limited duty, but are prized for their age and beauty. A C24, and C12a were also on hand for much of the recording (not pictured).
Old Neve 1272 line amps converted to microphone pre-amps are a compliment to Red Range Focusrite mic pre's. Hi-hat recording was made easy thanks to Jim Williams modified symetrix SX202 pre-amps. Compression was achieved with use of either a pair of rare-ish Tube Tech CL1A's, or Empirical Lab's Fatso Jr.
Instrument-wise, we went old school. If it sounds real, it probably was. Use of synthesizers were limited. When that occurred it was often with a 1972 Mini Moog model D, or an aging Yamaha TX802. Sampling chores were handled "in the box" with Digidesign's own Soft SampleCell. The skilled musicians used on the recording were crucial and are featured in the credits. It can be assumed that everything else was performed by Mr. Sampson. Songs were started, tracks were created, and in the process the good bits stayed and the inferior ones were replaced by musicians. Jez Guito lent out her Yamaha grand piano for piano performances. It's marvelous sound was snatched by the AKG C12's. Mixes were monitored on Mackie HR824's, Yamaha NS10's and Auratones. It was mixed in Pro Tools.