In the Air Tonight is one of Phil Collins’ most iconic tracks, famously known for its haunting atmosphere and dramatic drum break. The song’s recording process played a crucial role in its unique sound and subsequent impact on the music industry, particularly in the development of 1980s production techniques.
The initial stages of recording In the Air Tonight began on a Brennell 8-track reel-to-reel recorder. This setup captured the foundational elements of the song, allowing Collins to experiment with various sounds and arrangements. The project was later transferred to an Ampex MM1200 24-track analogue tape machine for further development, providing greater flexibility and fidelity. The final mix was executed on a ¼-inch 2-track Ampex ATR-100, ensuring a polished and cohesive output.
A significant part of the song’s distinct sound came from its innovative drum recording technique. The drums were captured with two Neumann U87 microphones, positioned 12 to 15 feet away from the drum set and compressed using UREI 1176 compressors. This setup highlighted the natural acoustics of the room, contributing to the song’s atmospheric quality.
The reverse talkback room microphone, known as a Ball and Biscuit made by STC, utilised a heavy-duty compressor to add a unique reverb effect that became a signature sound of the track. For closer sound detailing, a Neumann U47 was used near the bass drum and a Shure SM57 near the snare drum, enhancing the sharpness and impact of these elements.
Phil Collins’ vocals were recorded using a Beyerdynamic M88 microphone coupled with an Allen & Heath limiter. This combination not only captured the raw emotion in his performance but also contributed to his signature guttural vocal tone. The vocal tracks featured deliberate delays which were slightly out of sync with the music, creating a disconcerting and ethereal echo that added to the track’s eerie feel.
The instrumental contributions of John Giblin on bass and Darryl Stuermer on guitar were integral to the texture of the song. Stuermer’s guitar work, rich with echo and early digital delay effects, layered additional dimensions to the track, complementing the song’s overall mood.
One of the most revolutionary aspects of In the Air Tonight was the introduction of the gated drum sound. This effect was achieved by using the talkback mic compressed through a heavy-duty limiter, inadvertently creating a bold, compressed drum sound when the gate was abruptly closed. This technique was further refined and popularised throughout the 1980s, leading to the creation of the Non-Linear preset on the AMS RMX 16 Digital Reverb, a staple in recording studios thereafter.
The song’s legacy extends beyond its groundbreaking production techniques. In the Air Tonight has influenced countless artists and producers with its atmospheric and introspective sound, setting a stylistic precedent for the decade. The drum break in the song became particularly iconic, often mimicked and sampled in various musical contexts. This track not only highlighted Phil Collins’ prowess as a solo artist but also marked a pivotal moment in recording history, heralding the birth of the 1980s’ gated reverb sound that would dominate the era’s music production.
While specific details about the studio effects used on In the Air Tonight are scarce, aside from Hugh Padgham’s preference for reverb plates over digital reverbs and using delays to create atmosphere, these details do little to affect the song’s overall impact. The track remains a landmark recording, sounding extraordinary even today.
