Volumes 1 - 3:

Most sounds on the first three discs of the MUMS library were recorded directly to a Sony PCM 3202 DASH recorder (A/D rate: 44.1Khz, no emphasis). The ensemble violin sounds on Volume 1 and the percussion instruments on Volume 3 were exceptions. They were recorded with an effect (added ambience) on the right side. These sounds were first recorded to an analogue 24 track machine (Lyrec). A Telcom C4 Noise Reduction System was used. The sounds were subsequently mixed down to the 3202.

High quality B & K condenser microphones (model 4003) were employed, along with matched B & K microphone pre-amplifiers. In some cases a matched pair of Sennheiser MKH40 condenser microphones were also used. These microphones were then routed through a Sony/MCI MXP 3630 automated mixing desk. Some instruments were minimally equalized by the board's four-band Wien-type equalizer.

Volumes 4 - 11:

With the exception of Volumes 6 and 7 (Latin Grooves 1 and 2), the sounds on these volumes were recorded directly to a Sony R-DAT machine (model 2500). Volumes 6 and 7 were recorded to the 24 track Lyrec (with Telcom noise reduction). The sounds were then processed and mixed using the automated Sony MXP3630 desk. All sounds were recorded on the R-DAT at the sampling rate of 44.1 Khz. The editing and final compilation was done on the Sony 1630. The same B & K microphones and pre-amplifiers used on Volumes 1-3 were used on our later volumes. This was done not only because these are extremely fine microphones, but also to maintain sonic consistency across all of our CDs. In order to record the pipe organ (Volume 10), additional B & K omnidirectional microphones (models 4006 and 4007) were utilized to capture the cathedral's natural ambience. Various drums on Volumes 4, 6, and 7 were recorded using a matched pair of Neumann KM84 cardioids. The Sony MXP3630 continued to be the main mixing desk for Volumes 4-11. However, a Chilton console was used for the tympani on Volumes 4 and 9. The pipe organ on Volume 10 was recorded using an outstanding microphone pre-amplifier made by Studio Technologies Inc., the Mic-PreEminence. Its output then was connected directly to the digital recorder.