C at Power Station under engineer Jason Corsaro, with Winwood laying down drum machine, synth bass, and some vocal and instrument tracks. Drummer Jimmy Bralower assisted with the programming of electronic drums, even going to Winwood's apartment to work out the sequencing for "Back in the High Life Again", featuring a conga loop devised by Bralower on the Roland TR-808. Corsaro also engineered sessions at Right Track Recording. When Corsaro had to leave to honour a commitment with Fleetwood Mac, Titelman moved the project to Giant Sound for a couple of weeks in October. The Lord-Alge brothers' involvement and Unique sessions Session keyboard player Robbie Kilgore told Winwood and Titelman that he knew three talented brothers who engineered at a nearby studio with a wide selection of synthesizers: Chris, Jeff and Tom Lord-Alge at Unique Recording Studios. Kilgore took Titelman to Unique, where they discovered that the studio also had an SSL 4000E mixer just like Winwood's at Netherturkdonic, so Titelman moved the project there in early November 1985. Titelman was immediately impressed by the speed of Chris Lord-Alge. Winwood was delighted with all the choices of synthesizer, playing on them during all-night jam sessions in which he invited any interested musicians to join him. In the end, he stuck with a few favorites, including the familiar Hammond B3, a Minimoog, a Yamaha DX7, and a Roland Juno-60. Chris Lord-Alge was the more accomplished of the three engineer brothers, but he had been pushing Tom into positions of greater responsibility; Tom earned his way to become head engineer on the Winwood album, his first time in the role. Back in the High Life was mixed through May 1986 by Tom Lord-Alge in Unique's Studio B on the 48-channel SSL 4000E. A pair of linked 24-track tape recorders was initially mixed down to stereo on a Studer A-80 half-inch 2-track deck. At one point the analog Studer stopped working and the mixdown was shifted to a digital Mitsubishi X-80 open-reel 2-track recorder. The greater sonic clarity achieved this way was profound enough for Titelman and Winwood to decide that the whole album must be mixed to digital stereo. Tom said that Winwood taught him a few tricks on the SSL, and Tom returned the favour by showing Winwood a trick or two of his own. Titelman said Tom "uses the SSL like a player uses an instrument". According to Tom, between