The recording of Regatta de Blanc at Surrey Sound Studios in 1979 was a pivotal moment in The Police’s career, solidifying their place as a genre-defying powerhouse. The studio’s setup, centred around an MCI recording system, played a crucial role in capturing the clean yet powerful sound of the album. Nigel Gray’s engineering expertise, combined with the studio’s equipment, created a production that was both spacious and precise.
The core of Surrey Sound Studios was the MCI JH-400B mixing console. Installed in 1978, this desk was known for its reliability and straightforward design, offering a clear and neutral sound. Unlike some consoles that added warmth or colour to the audio, the MCI JH-400B provided transparency, ensuring that each instrument was captured with precision. This was essential for maintaining the distinct separation between the instruments that characterised The Police’s sound. The high-quality build and flexible routing options allowed Gray to handle complex mixes with ease.
The studio used an MCI JH-16 24-track tape machine for recording. This machine allowed for multiple overdubs and clean edits while preserving the fidelity of the original recordings. The combination of the MCI console and tape machine ensured that every element of the recording, from vocals to percussion, retained clarity and punch. Nigel Gray’s approach took full advantage of the system’s capabilities, balancing live performances with carefully layered effects.
Outboard gear was also instrumental in shaping the sonic identity of Regatta de Blanc. A dbx 162 compressor was used to add punch and control to the vocals and drums, with their fast response times helping to emphasise Stewart Copeland’s intricate rhythms. The Eventide H910 Harmonizer was used for pitch-shifting effects, adding a distinctive atmospheric quality to the mix. The EMT 140 plate reverb unit, created lush reverberation that gave tracks like Walking on the Moon their expansive, dreamlike quality.
Microphones played a key role in achieving the album’s sound. Neumann U87s were typically used for vocals due to their balanced tone and rich midrange. AKG C414s captured room ambience and overhead details with clarity, while Shure SM57s were often employed for close-miking, particularly on the snare drum, to capture a crisp and punchy attack. Electro-Voice RE20s were likely used for low-frequency sources due to their flat frequency response and versatility.
The compact size of the live room at Surrey Sound Studios meant that natural reverb was limited, but Gray made use of clever mic placement to enhance room reflections and create a sense of depth. He also used tape delay alongside the studio’s digital reverb to further enrich the overall soundscape.
Despite working with a relatively small studio and a modest budget, Regatta de Blanc sounded larger than life, thanks to the careful choice of equipment and Gray’s meticulous production techniques. Tracks like Message in a Bottle and Bring on the Night benefited from the MCI console’s clarity and the combination of analogue and digital effects, creating a sense of space that became a signature feature of the album.
The recording of Regatta de Blanc stands as a testament to how innovative use of equipment, paired with creative engineering, can result in a timeless and influential work. Surrey Sound Studios and its MCI setup became synonymous with the early Police sound, proving that a small but well-equipped studio could produce recordings that continue to resonate with audiences decades later.
