80s album gearlists and more

For a while there has been very little information as to what synthesizers and equipment had been used on “Captain Of Her Heart”, besides the mention of a demo containing the catchy melody played on an Oberheim synthesizer (which could have been any model). Having recently confirmed with Kurt Maloo (one half of the duo), the song’s basis was provided by an Oberheim system: Oberheim OB-Xa synthesizer, Oberheim DSX sequencer and the Oberheim DMX drum machine. The Oberheim OB-Xa provides the main synthesizer pad throughout as well as the sequenced bassline. In addition to that, there’s also a harp sound from a Jupiter synth (probably a Jupiter-8) that’s heard just before the instrumental middle section. Then the rest of the song is acoustic. Other equipment they had at their disposal included a small Yamaha grand piano, a couple of acoustic guitars, two wind instruments and a Fender Stratocaster (though it wasn’t used on this number). There was also a drum kit but Felix Haug – the o

(last updated: ) Musical equipment Drum machines: Oberheim DMX Roland TR808 (“Dancing Girls”) Yamaha Ensemble Mixer EM-90 /w built-in drum machine (“Human Racing” - combination of two presets) Synthesizers: Oberheim OB-Xa PPG Wave 2.2 Roland Juno-60 Yamaha DX7 Yamaha CS-80 (“Human Racing”, Reggie Webb) Basses: Wal Mk1 1983 model Guitars: Dave Gladden custom /w Gibson Les Paul standard fingerboard and 2 PAF pickups Guitar amps: Roland Bolt 60 Effects: Boss RX100 reverb? Boss OD-1 Overdrive Studio equipment Microphones: AKG C414 AKG D12 Beyerdynamic M88 Beyerdynamic M201 Neumann KM84 Neumann U67 Neumann U87 (vocals) Outboard (Sarm East): Aengus Graphic Equaliser Allison Research Kepex II noise gate AMS DMX 15-80S digital delay Audio & Design Recording Vocal Stresser F769X-R Audio & Design Recording Express limiter Audio & Design Recording SCAMP units: F300 Noise Gates/Expanders (x4) S23 Pan Effects Module (includes Auto-pan) S25 De-esser S100 Dual Gate BEL BF-

(last updated: ) Musical gear Angus Young: Guitars: Gibson SG Amplification: Marshall 50-watt head Marshall 100-watt head Marshall 4”x12” cabinets Malcolm Young: Guitars 1959 Gretsch White Falcon – possibly used on album Amplification: Marshall Cliff Williams: Basses: Fender Jazz Amps: Ampeg Portaflex Recording & studio gear Outboard gear: DBX 160 Eventide H910 UREI 1176 Microphones: Drums: Kick: AKG D20 Neumann U47   Snare: Neumann KM86 (top) Shure SM57 (bottom) Hi-hat: AKG C414 or C451 Toms: Sennheiser MD421s Neumann U87s Shure SM7s Overheads: 2 x Neumann U87 or U67 Room: Neumann U87 Bass: AKG D-12 Guitars: Neumann U87 Neumann U67 Vocals: Neumann U87 "Hell’s Bells" bells: AKG C451s B & K mics (top end) Shure SM57s (dynamic end) Neumann U87s Tape Machines: Compass Point: MCI JH-114/16/24 24-track MCI JH-110 2-track Electric Lady: Studer A800 24-track Studer A80 2-track (x2) Consoles: MCI JH500 (Compass Point) Neve 8078 (Electric Lady) Miscellaneous:

(last updated: ) Musical gear: Roland TR-707 drum machine Roland TR-808 drum machine (“Rent”) LinnDrum drum machine – can be heard on “Heart” rough version, “It’s A Sin” hi-hat Fairlight CMI Series IIx (or Series III) PPG Wave 2.3 (Andy Richards) Roland Jupiter-8 (Andy Richards) Miscellaneous recording & studio equipment: Neumann U87 (vocals) Nagra recorder – “It’s A Sin” catholic mass 2 x Studer A800 16/24-track (Sarm West Studio 2, assumed) Sony PCM-F1 Sony PCM-701 (Sarm West studio equipment) SSL 4048 E-series (Sarm West) References http://www.muzines.co.uk/articles/programmers-protocol/1104 Multitracks, photo, demos Sound On Sound https://worldradiohistory.com/hd2/IDX-UK/Music/Archive-Music-Media-IDX/IDX/80s/87/M&M-1987-11-14-OCR-Page-0006.pdf http://www.polymathperspective.com/index.php?p=3297

 (last updated: 20/5/21) Instruments Phil Collins: Simmons SDS-7 Roland Octapad Pad 8 LinnDrum Pearl drums E-mu SP12 Roland TR-707? Tony Banks: E-Mu Emulator II New England Digital Synclavier II Roland MKS-80 Super Jupiter Sequential Circuits Prophet-10 (e.g. “Tonight, Tonight, Tonight”) Yamaha DX7 Yamaha TX-816 Yamaha QX1 sequencer   Yamaha CP-70B electric grand piano /w MIDI Yamaha REV7 reverb Mike Rutherford: Guitars: ’75 Fender Stratocaster Sunburst Steinberger GL2 6-string Basses: Steinberger L2 Fender Jazz(?) Amplification: Marshall amp Marshall cabinet Effects: AMS RMX-16 Orban 622b parametric eq other effects yet to be identified Roland GR-700/G-707 guitar synthesizer? Studio & recording gear Microphones: Drums: Kick: Neumann U47 Snare: Shure SM57 (assumed) Toms: Beyerdynamic M88 dynamic mics Overheads: 2 x Neumann U47 FET Room: 2 x AKG C414 or Neumann U47 or Neumann U87 Vocals Beyerdynamic M88 Outboard gear: AMS RMX-16 2 x AMS DMX 15-80S delay EMT 140 tube plat

(last updated: 31/7/21) Musical gear Stewart Copeland: TAMA blue drum kit: 22” x 14” bass drum 14” x 5” snare 12” x 7” rack tom 13” x 8” rack tom 16” x 15” floor tom Cymbals (Zildjian hollow logo A's): 14" hi-hat 22” heavy ride 2 x 16” crash 18” crash Roland Chorus Echo RE-301 tape delay Sting: Basses: 1978 Fender Precision fretless 1979 Ibanez Musician MC900DS (modified to fretless) Amplification: Marshall 100-watt Marshall 4"x12" cabinets Andy Summers: Guitars: Hamer Sunburst Cherry red 1963 Fender Telecaster custom Gibson Les Paul Custom Roland GS-500 Amplification: Marshall 1959 JMP 100-watt amp head Marshall 4x12 cabinets Music Man 212 HD Effects: Pete Cornish custom FX pedalboard: Electro-harmonix Electric Mistress flanger Mutron III envelope filter MXR Dyna-Comp compressor MXR Distortion+ MXR Phase 90 phaser Pete Cornish fuzz Maestro Echoplex echo/delay - heard on "Deathwish" Note: "Walking On The Moon" guitar effects were created wit

(last updated: 23/6/21) Stewart Copeland: TAMA blue drum kit: 22” x 14” bass drum 14” x 5” snare 12” x 7” rack tom 13” x 8” rack tom 16” x 15” floor tom Cymbals (Zildjian hollow logo A's): 14" hi-hat 22” heavy ride 2 x 16” crash 18” crash Andy Summers: 1963 Fender Telecaster guitar Custom model /w Gibson humbucker, built-in preamp and phase switch Fender Twin Reverb amp Ampeg amp MXR Phase 90 Sting: 1962 Fender Jazz bass /w natural finish Recording & studio equipment Microphones: Drums: AKG D-12 (bass drum) AKG C-451s (overheads) Beyerdynamic condenser mics (toms) Vocals: Neumann U67 Tape machines: Ampex MM1000 16-track Ampex AG-440 2-track Outboard gear: ADT compressors Audio and Design compressors/limiters/exp/gates DBX compressors EMT 140 stereo plate Master Room reverb Tannoy red monitors Miscellaneous: Alice 20-16 mixing desk Broadwood Grand Piano References 1978 Surrey Sound ad (Surrey Sound gear info) Behind The Boards II by Jake Brown Stewart

(last updated: ) Musical equipment David Sylvian: Oberheim OB-X Sequential Circuits Prophet-5 Rickenbacker guitar /w e-bow Richard Barbieri: Oberheim OB-X Roland System 700 Mick Karn: Wal basses Steve Jansen: Linn LM-1 TAMA kit Studio & Recording gear Microphones: Neumann U47 (vocals, assumed) Outboard gear: AMS DMX 15-80 delay Eventide H949 Harmonizer Tape machines:   Regents Park Studio: 3M M79 24-track 2 x Studer B67 2-track Revox A77 Revox A700 The Manor: Ampex MM1200 24-track Ampex ATR-102 2-track Ampex ATR-104 2-track Odyssey Recording studios: MCI JH24 24-track MCI JH110 2-track AIR Studios: Studer A800 24-track Studer 2-track? Mixing consoles: Trident TSM 40/32 (Regent Street) Helios custom 32-input 24-output console (The Manor) MCI JH500 custom desk (Odyssey studio) Neve A7971 (AIR Studios Oxford Street) References Various studio photos Electronics & Music Maker January 1983: http://www.muzines.co.uk/articles/japan/5864 AIR Studio Oxford Stree

(last updated: ) Kate Bush: Fairlight CMI Bechstein upright piano Grotrian-Steinweg piano Miscellaneous studio equipment: LinnDrum drum machine 2 x Studer A80 tape machine   Q-lock tape machine synchronizer Soundcraft mixing desk Quantec Room Simulator References http://gaffa.org/reaching/i85_key.html https://www.uncut.co.uk/features/this-girl-is-very-very-tough-the-untold-story-of-kate-bush-s-hounds-of-love-4812/?amp https://www.musictech.net/guides/essential-guide/landmark-productions-kate-bush-hounds-of-love/?amp  

(last updated: ) Vince Clarke: Roland TR-808 drum machine Linn LM-1 drum computer Roland JP-4 synth Sequential Circuits Pro One synth Roland MC-4 Microcomposer Studio equipment Lexicon 224 Lexicon 224X 2 x Soundcraft 16-track machines References: http://www.muzines.co.uk/articles/downstairs-at-erics/1592 http://www.electricityclub.co.uk/vintage-1982-vince-clarke-interview/  

 (last updated: ) Musical equipment Jon Moss: Gretsch drums Linn LM-1 Simmons drums Mikey Craig: Music man basses /w Superwound 606 strings Roy Hay: Fender Stratocaster? Roland JC-120 amp Korg Delta string synth (“Do You Really Want To Hurt Me”) Keith Miller: Synclavier Recording & Studio equipment Microphones: Drums: Bass drum: Electro-Voice RE20 Snare: Sony C36Pd Hi-hat: Sony C36Pd Toms: Sony C35Ps Overheads: Neumann KM84 Room: Crown PZMs Vocals: AKG C12 Tube Outboard gear: AMS DMX 15-80S delay /w extra memory AMS RMX-16 reverb Miscellaneous: MCI 24-track machine MCI 2-track machine MCI JH-542LM console Fairlight CMI References https://worldradiohistory.com/Archive-All-Audio/Archive-Recording-Engineer/80s/Recording-1984-08.pdf http://www.muzines.co.uk/articles/the-men-behind-the-boy/6509 Red Bus Studios profile: https://worldradiohistory.com/hd2/IDX-Audio/Archive-Studio-Sound-IDX/IDX/70s/Studio-Sound-1979-04-OCR-Page-0046.pdf https://www.youtube.com/watch?v=lYWCcUYOOH4

(last updated: ) Musical equipment Jon Moss: Gretsch drums Linn LM-1 Simmons drums Mikey Craig: Music man basses /w Superwound 606 strings Roy Hay: Fender Stratocaster? Roland JC-120 amp Korg Delta string synth (“Do You Really Want To Hurt Me”) Keith Miller: Synclavier Recording & Studio equipment Microphones: Drums: Bass drum: Electro-Voice RE20 Snare: Sony C36Pd Hi-hat: Sony C36Pd Toms: Sony C35Ps Overheads: Neumann KM84 Room: Crown PZMs Vocals: AKG C12 Tube Outboard gear: AMS DMX 15-80S delay /w extra memory AMS RMX-16 reverb Eventide H910 harmonizer EM&M Noise Gate (“Do You Really Want To Hurt Me”) Miscellaneous: MCI 24-track machine MCI 2-track machine MCI JH-542LM console References Album credits https://worldradiohistory.com/Archive-All-Audio/Archive-Recording-Engineer/80s/Recording-1984-08.pdf http://www.muzines.co.uk/articles/the-men-behind-the-boy/6509 Red Bus Studios profile: https://worldradiohistory.com/hd2/IDX-Audio/Archive-Studio-Sound-I

 (last updated: ) Instruments & equipment: LinnDrum drum machine Sequential Circuits Prophet-5 Yamaha DX7 Roland Juno-60 – RG Jones PPG Wave 2.2/2.3 Fairlight CMI – Eel Pie Tony Mansfield UMI 2B computer – RG Jones NED Synclavier – Eel Pie Neill King sessions Gibson ES-335 (Pal Waaktaar) Fender Stratocaster - possibly used on the album unknown acoustic Microphones: Eel Pie: Beyer 201 (vocals) Neumann U47 (vocals) RG Jones:   Neumann U47 (“Take On Me” vocals) Outboard gear: Eel Pie Tony Mansfield/Neill King sessions: AMS RMX-16 reverb 2 x AMS DMX 15-80S delay Lexicon 224X reverb Lexicon Prime Time delay RG Jones sessions: AMS DMX 15-80S delay Lexicon 224 Tape Machines: Eel Pie: 2 x Studer A800 24-track Ampex ATR-100 2-track RG Jones: Studer A80 24-track Studer A80 2-track Mixing consoles: SSL 4000E /w Total Recall (Eel Pie) SSL 4048E (RG Jones) References Sound On Sound article: https://www.soundonsound.com/people/ha-take-me http://forum.vintagesynth.com/viewtopic.php?