The first recording sessions for the songs on DAYLIGHT were done at Stonybrook studios in Hopewell, NJ. Much like the previous HUB CD, it started with a bunch of Hub Moore's cassette recordings. Most of the songs that ended up on the CD were written within about a 12 month period, not too long after the release of the eponymous HUB CD in 1998.
As has become their approach, Hub brought his guitars, voice, and songs to the studio and they began recording, with Chris as producer and Claude Coleman Jr. as engineer. Chris enlisted the local Lambertville rhythm section of Matt Kohut (bass) and J.P. Wasciko (drums) for some added options. In a few days they had the basics for most of the songs done, with Claude on drums on some of them and both drummers playing at the same time on a couple of numbers. "With Chris, it's really a 'feel' thing" says Hub, "he seems to have a natural ability to find the right tempo and groove to best bring out the mood of what the song is all about. He just knows where the instruments feel right; not in a mathmatical sense but in a spacial sense."
They then began to overdub and add layers onto the songs -often with all three (Hub, Chris & Claude) playing simultaneously. According to Hub, "It wasn't really planned, but the way it happened was that when one of us was doing an overdub, say a vocal or something, the other two would play along in the control room -mostly on one of the many keyboards lying around- and we would record those tracks as well. Being that none of us are really practiced keyboard players, we kind of came up with a unique blend of semi unorthodox riffs. Among other things, it's a fun way to do a lot of tracking in a hurry."
 
Once most of the basic recording was done, they went to Adam Lasus' FIREPROOF studio in Brooklyn NY to do the mixing. Located in an old fire station, the studio has a great rustic feel. Yes, there is a pole. The nature of the mixing sessions was of a laid back yet highly (mostly) productive sort. Not to give away any trade secrets or anything, but Chis seemed to be at his best doing a mix while reclining on a couch twiddling the knobs of some strange assortment of effects boxes and pedals. They brought in some guest musicians to round out the songs including world renowned cellist Jane Scarpantoni, and downtown renowned keyboardist Fil Kronengold. Dean Ween had already lent some fat (with an 'f') riffs to the CD's final track, "If I Could" back in NJ but was, unfortunately, unable to play on anything else after breaking his finger playing basketball. Some say he was going one on one with Allen Iverson at the time of the accident.
 
As it happened, Chris Harford was in the process of recording his own CD, "Wake" at the time -utilizing the same two studios and many of the same musicians. This made for some pretty interesting interweavings of people and players. Chris, being a master of eliciting great one-take performances from people, managed to kill(?) a whole flock of birds with one stone. On one particular session at Fireproof, they had both Jane and Fil playing on various songs on both CDs as well as the great David Mansfield adding guitars, banjos, pedal steels, etc. to "Wake". After the final count they had recorded something like 30 different parts on 14 different songs over the course of the one (loooong) session.
The final stages of the "Daylight" CD took place at Hub Moore's home studio -also in Brooklyn- where Hub added onto the stereo mixes countless layers of subtle instrumentation, voices, samples, variations, and mutations. This is, in some cases, what happens when a musician is introduced to the marvels of modern technology in their own home. This 'tweaking' stage went on for a number of months -perhaps too many to count- and included the recording of three additional songs ("She Won't Say","The Things That Show", and "Touched"), thus completing the 12 song CD.