Our recorded repetoire includes complete and excerpt versions of: 

• Fanfare For The Common Man
• Fanfare For The Common Man (New Version)
• Hoedown (New Version)
  
• Lucky Man
• Pictures At An Exhibition side 2
• Peter Gunn
• Tarkus (Battlefield)
• Tarkus (Finale)
• Trilogy

Technical notes on the recordings:
The original demo recordings were done in 4 sessions, with tracking done live in the first session at Phil's home studio, followed by an overdub session, second vocal OD session, then mix session.
Phil's studio includes a Yamaha 02R console, and three 8 track 20 Bit Alesis ADATs, of which we used two, for a total of 16 tracks.
Phil engineered the tracking and overdubs, which consisted of adding some bass mini-Moog and Moog solo sweetners, a couple of fixes from John on the original bass guitar track, acoustic and electric guitars added to Lucky Man, and John's final vocals on all tunes.
Phil's main keyboards are the Kuzweil K2500s, which produced the grand piano heard on Trilogy.
John's Alembic bass guitar was taken from the DI output of his Hartke 3500 amp, via Demeter Tube mic pre.
John played Phil's Gibson electric guitar through a Line6 POD direct into the console on Lucky Man.
Vocal channel consisted of Demeter tube mic pre and compressor.
John did the mixdowns from ADATs via O2R to DAT, then transferred it into his Protools, where the final editing and mastering was done. MP3s encoded via Apple itunes.
The gong on Tarkus Finale was added at the very end as an overdub by Jerry in Protools, then added to the mix.

The New Studio Versions were recorded directly to John's Protools Mix Plus 24Bit/48KHz as a series of overdubs, referenced to the original ELP tracks.
Jerry was recorded first, with his new DW set at Enterprise Post Studios on the main dub stage, using 12 Mics going to 12 tracks. John used his 8 Channels of Neumann/True Class A mic preamps, 2 Channels of Precision Analog Systems MPA-100 Class A mic preamps, and 2 Channels of SSL Avant remote Mic Preamps for the Overhead Mics (which were a pair of U67s).
John did his bass parts direct via the Neumann/True Class A DI input, fed directly from his Alembic Series I bass.
Phil was tracked at his studio, using a variety of keyboards, including Kurzweil, Mini-moog, etc.
The tracks were edited and mixed by John at his home on his Protools. Monitoring was done via a prototype set of Dan Wallin's Custom Signature Series 2-Way Monitors, driven by a McIntosh MC-250 stereo power amp.
 

WE HOPE YOU ENJOY LISTENING TO THESE TUNES AS MUCH AS WE ENJOYED PLAYING THEM!