Work began on the actual recording of The Radiant Self in early 1988 shortly after the message and graph that appeared in my Journal (see History page) in January 1988. Most of my album projects run from pre-Easter through to June Solstice and into July August. Mostly they are made over the 4 months between March and June. Autumn in Australia.
I would have started prepping for that album project, studying and decoding the graph, applying all the different parameters from the graph into a musical topography.
In my 1/1/1988 New Year's Day list it states:
The recording was done in my usual studio space with the Yamaha DX-7, Ensoniq Mirage, Roland JX-3P, DMX Drum machine that controlled two Roland MSQ-700 sequencers hooked together running my synths plus Paul's Korg Poly 6. There may have also been a Roland SH-101 and an MC-202.
But in the last weeks of recording, Ensoniq brought out a brand new sampler called an EPS - this was better than the Mirage's 8bit sampling but not as good as the Emulator's 16 bit. The EPS was 13 bit sampling... and they had a whole new bunch of really sweet, real, clean sound samples.
So I asked the music shop if I could test drive an EPS for the weekend and worked hard all two days and three nights putting what I call 'the cream' on The Radiant Self recording. It added that extra dimension that took it into some really transcendent spaces. One of my fave's is the clarinet on the last track Connections of Gossamer. That track and the whole album owes it's clarity and definition to the EPS.