Thanks for the bumps guys, I thought I was alone on this one. I found the following information about recording Elephant.
Actually he used a Selmer instead of the Silvertones for that album:
Tracking an Elephant
"There's no digital stuff at Toerag Studios-not even Pro Tools," says White. "They even hide the CD burner under a table!" To track Elephant, the vintage-sound zealot found a soul brother in Toerag Studios' owner/engineer Liam Watson, who has been tracking artists in his London, England, studio the old-fashioned way since 1991.
"We tracked on 1" analog tape using a Studer A-80 8-track," says Watson. "Jack used two amps for the sessions-his Fender Twin Reverb and a Selmer Truvoice Zodiac Twin 30. The Selmer took the place of his Silvertone amp, which he didn't want to ship to England. I close-miked the amps with Shure 545 and AKG D25 mics in various configurations. For acoustic-guitar tracks, a borrowed Martin was miked with a single STC 4038 ribbon mic. [A Burns acoustic was used for "It's True That We Love One Another."] Jack wanted to mic the acoustic in stereo for 'You've Got Her in Your Pocket,' and I never really do that. I had to pull out my BBC recording manual from the late '50s and look up some stereo-miking techniques!
"My mixer is a Calrec M Series broadcast console from the early '80s. The company is more famous for its microphones, but they've been making mixing desks since the '60s-mainly for the BBC. I think they're better than Neve boards.
"I realize my studio only appeals to a certain type of musician. I mean, we only used one piece of outboard gear for the entire Elephant album, and that was a Urei 1176 compressor for one vocal track. I have no problem with computers-I've heard good albums made that way-but they don't interest me, and you really don't need all that stuff. Up until 1968, there wasn't a studio in Britain that had more than four tracks, and think about all the great records by the Beatles, the Rolling Stones, and others that were made during that time."
