The Police’s Synchronicity was recorded between December 1982 and February 1983, primarily at AIR Studios Montserrat and later completed at Le Studio in Morin-Heights, Quebec. It was co-produced and engineered by Hugh Padgham, whose precision and technical expertise defined much of the album’s distinctive sound. Padgham had already established himself as one of the most innovative engineers of the era, and his approach on Synchronicity combined advanced studio technology with carefully controlled acoustics to capture the band at their creative peak. The sessions were anything but relaxed, with tensions between band members running high, yet Padgham’s disciplined methods and use of cutting-edge equipment ensured that every take was captured with exceptional clarity and power.
The recording setup at AIR Montserrat revolved around a Neve console feeding an MCI 24-track tape machine, chosen for its warmth and reliability. The layout of the studio allowed Padgham to record the band live while maintaining separation between instruments: Stewart Copeland’s drums were set up in the dining room for their bright, lively acoustics; Sting’s bass was recorded in the control room to avoid spill; and Andy Summers’ guitars were tracked in the main live room. The players were connected visually by a video link, allowing them to perform together while still achieving clean multitrack isolation. The MCI recorder captured the band’s core performances, which were then taken to Le Studio in Canada for overdubs and final mixing on an SSL console, giving Padgham access to early mix automation and precise dynamic control.
Padgham’s drum recording techniques were a crucial element of the album’s sound. Stewart Copeland’s kit was miked using a Neumann U47 FET on the kick, a Shure SM57 on the snare, Coles 4038 ribbons as overheads, and Neumann U87s as room mics. Padgham’s preference for using the room as part of the drum sound rather than relying solely on close mics gave the recordings a natural punch and dimension. His experience in developing the gated-reverb sound with earlier artists was applied subtly here, shaping the ambience without overwhelming the performance. Copeland’s percussive detail, from hi-hats to timbales, was captured with surgical precision, helping define the tight, intricate rhythm patterns that became the hallmark of Synchronicity.
Sting’s bass was tracked through a direct input as well as a miked amplifier to balance clarity and body. His use of an Oberheim DSX sequencer and DMX drum machine on songs like Walking in Your Footsteps and Synchronicity I added a mechanical edge that blended seamlessly with Copeland’s organic drumming. Andy Summers’ guitar work was enhanced through a variety of effects units, including the Roland SDD-320 Dimension D chorus for stereo width and the Roland SRE-555 tape echo for spatial delay. His textural approach relied as much on ambience as on melody, and Padgham’s use of outboard reverbs and delays, including AMS digital delays and EMT plates, created the shimmering soundscape that defines songs like Wrapped Around Your Finger and Tea in the Sahara.
Mixing was carried out on the SSL console at Le Studio, where Padgham took full advantage of the board’s automation to craft intricate balance moves across the album. Tracks like Every Breath You Take demonstrate the combination of warmth and precision that came from recording to analogue tape and mixing through high-quality analogue circuitry. The vocals were treated with subtle compression and light plate reverb to sit naturally in the mix without masking the instruments. The attention to stereo imaging, EQ detail, and spatial depth helped give Synchronicity a sense of scale that was both intimate and cinematic.
Released in June 1983, Synchronicity became The Police’s most successful album, topping charts worldwide and winning multiple Grammy Awards. Its sound remains one of the finest examples of early 1980s studio craftsmanship, an album that perfectly balanced human performance with technical control.