The outboard collection included UREI mono and stereo limiters, Drawmer compression and gating, SCAMP compressors and dynamic noise filters, Keepex II gates, A&D compressor/expanders, a Lexicon 224 and multiple AMS digital reverb and delay units, including both early and updated versions retained for their different effects.
A Quantec processor was used specifically on vocals, while additional graphic and parametric equalisers were hired for mixing at engineer Brian Tench’s preference. Monitoring was deliberately kept relatively modest, with the album recorded and mixed on the same small speakers driven by an Amcron amplifier rather than large studio monitors, a choice suited to the room and intended to reflect the systems on which most listeners would hear the finished record.