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Transcript of the liner notes on the first inner sleeve
RECORDING INFORMATION
PRODUCED, ENGINEERED AND MIXED BY: MARTIN "LIVE ANIMAL" BIRCH
the album was molded over 4 nights at Hammersmith Odeon, London. England (October 8, 9. 10 and 12 1984) and 4 nights at long Beach Arena. los Angeles, USA (Match 14, 15, 16 and 11 1985)
Sides 1, 2, and 3 were worded at long Beach Side 4 was recorded at Hammersmith
Recording Credits Hammersmith
Recording facility Rolling Stones Mobile
Assistant Engineers Mick McKenna, Charlie McPherson
long Beach Recording facility: Record Plant Mobile No .3
Engineer Ricky Delano
Second Engineer Nick (Deemer) Bach Crew Craig Engel, Robert Winder, Mark Eshelman Reed at Record Plant Studio A, los Angeles, July 8 August 3. 1985 Second Engineer. Nick (Still Beaming) Basich All recordings on Ampex 456 tape Mastered at. Capital Records. Hollywood. CA Mastering Engineer Wally Iraugon
Live Recording Thoughts by Martin Birch The first live album I ever recorded was Deep Purple's 'Made in Japan' in 1972 the first thing you decide is, naturally. which concerts to record to be cost effective, it's often best to record in major cities where there is good access to top class mobile studios this saves very expensive travel and accommodation costs, and also major city venues are usually more experienced with live recordings so the stall are generally more amenable and helpful Also, it helps it the band are able to play multiple dates at the hall, so then you can set up the first day and leave everything- and even make slight adjustments day to day to enhance the sound as you go on as the sound in the hall is more or less the same every day therefore, Maiden'st our,night engagements at both Hammersmith and long Beach were ideal. Next you choose the recording facility. I've used the Rolling Stones Mobile on many occasions before and have found it very well designed and gets great sound. Also, I know the mobile UM well so that also makes life easier and leads to better results Although I've used Record Plant Studios on a number of occasions, I've never used a mobile in On checking the technical data, sound the Record Plant Mobile to be of excellent technical Quality for example, it has an API Custom Board, one of the best there is. and one of only three in the world Also, I know a couple of the engineers , so again that helped. Next you order all the microphones. Recording mikes are far more sensitive than mikes used on the road as they don't need to stand up to the rigours of touring. I usually select a wide range and try out different combinations at the sound check to get the best overall effect !hen you wait for the big day. The mobile arrives early and the crew start wiring. Ifs usually parked near the backstage door where access to the stage is best The band put their equipment in very early in the morning usually about 6 am, so we can have a good, long sound check from about 1 pm to make sure everything is perfect. Come showtime, it's heads down and we go We record onto two multi tracks, so nothing is missed when there are tape changes, and also do a simultaneous mix onto 1/4 tape for a reference I decided to mix at Record Plant because I know the studio and its sound well, and the equipment is top notch with all mod cons, especially the desk - a Solid State logic St 4000E, made in Oxford, England. Once the tracks to go on the album are selected by the band and myself, we start mixing. I usually start about 1 pm and work through to one or two in the morning depending on how far I've got, existing on junk food imported from various sleety Hollywood mints When the mixing is finished and approved by the band, we master it, checking the Ell's and making final slight sound adjustments. Cutting Maiden albums is often difficult, as they tend to give you tans great value by putting about 25 minutes of music on each side, whereas an album side normally tuns between 16 and 20 minutes. This gives the tuning engineer great problems in getting all the grooves in without losing volume and clarity. However, the best can do it, and we only use the best the cut then goes to the factory and we get test pressings of the album a few days later The band and myself check these, and then the real is on its way. Hope you enjoy it Martin Birch
Transcript of the liner notes on the second inner sleeve:
Sleeve Illustration: Derek "R.I.P." Riggs
All Photos: Ross "Mr. Manners" Halfin
Sleeve Concept: Derek Riggs and Rod Smallwood
Sleeve Design: Steve "Krusher" Joule
Sleeve Preparation:Artful Dodgers
Iron Maiden are managed by Rod "The Raiders" Smallwood for Sanctuary Music (Overseas) Ltd. and Andy "L.B.C." Taylor for Sanctuary Music Ltd. All toles published by /omba MUSIC Publishers lid except' published by Chadwick banns ltd Used by kind permission Special thanks to:
Sanctuary people 'ern Berg, Bill lolor, Rob land, Cab Paige, Chris Ambler Emu Whiny Ralph Simon, Clive Calder, Rochelle and Jan at /oda Kerrang Masa Sob and the Bonnets all our guests - Waysted, Accept, Motley Crue, twisted Sister, Ilueensoche WASP, Warrior, RaH, Mamas Boys Chris and Rose at Record Plant Howard Junes Bill Edon/ Keith MOM f C Patrick McKenna George Bodnar Vic Vella Roll Hammer. Tommy and Debbie Beal (Ihe Aces High Gang) Linda and Studio Master Chicago Mutants for courage beyond the call of duty Andy Strange Rabbi M Volons Barbara at Pan Ant Irevor Searle Gary Bushell for a great book Melbourne E.0 Pat Cash and Ian "Barkers' Barclay Doc Cardwell
A Special Thanks to you fans around the world for making "The World Slavery Tour' and the recording of this album so special.
IRON MAIDEN INFORMATION Send stamped addressed envelope or international reply coupon to
For North and South America) P.O. Box 4803, Macon GA 31200 4016, USA
(For Rest of World) P.O. Box 391, London W4 2l/
Also Available. Live After Death (World Slavery Tour 85) 85 min HiFi Video Cassette filmed live at long Beach Arena, California and featuring the full U.S. Tour Production.
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