recursal/Fanatic-Fandom huggingface dataset:
MXR M-101 Phase 90

The MXR Phase 90 was a phaser pedal used by both Sting and Andy Summers.

## Sting's MXR Phase 90

Sting had used the **MXR Phase 90** phaser for effects on his bass. The MXR first appeared in his rig around Spring 1979 on the *Outlandos D'Amour* tour, and has used it on tours for *Reggatta De Blanc*, *Zenyatta Mondatta* and *Ghost In The Machine*. Sting owned two MXR Phase 90 pedals, both of which were often seen together onstage on the *Reggatta De Blanc* tour, but he's often seen with one.

Sting's MXR Phase 90 was a late 1970s model (1978/79) with an MXR rubber knob cover over the plastic knob.

The MXR Phase 90 can be heard on Sting's bass in footage of the band improvising on "Canary In A Coalmine", featured in the *Around The World* film. Sting stated in an interview that the MXR Phase 90 sounded much better on the fretless bass than the Cry Baby, as there was no fret rattling.

### References

* *International Musician & Recording World*, July 1979
* *Sounds*, 23 February 1980
* Various photos such as:
	+ This photo from a November 1979 concert - two MXR Phase 90 pedals are visible at Sting's feet
	+ this late 1980 concert photo with the MXR Phase 90 visible between the two Moog Taurus pedals
	+ This photo from April 1979 with a clear view of the MXR Phase 90 at the foot of the photo
* Ghost In The Machine tour program equipment lists

## Andy Summers' MXR Phase 90

In the early days of The Police, Andy had a Fender Twin Reverb amp and an MXR Phase 90. Andy Summers eventually had the Phase 90 embedded in his Pete Cornish custom FX board.

## References

* various
* *Guitar Player*, June 2007
TEAC A-3340S 4-track

## Stewart Copeland's TEAC A-3340S

From 1978 to 1983, Stewart Copeland used a **TEAC A-3340S** 4-track tape machine to record demos as well as (later) for soundtracks to his Super 8 home movies.

According to one of Stewart's diary entries reproduced on The PoliceWiki, he first acquired the TEAC 4-track on 24 July 1978 for £794 (UK Sterling), though in the quote below he says £750.

### Quotes

> "The Revox was the first serious machine I bought and I had it for a couple of years, but was dreaming of a Teac four track reel-to-reel; that was in the Curved Air days. With the first money I actually got from a publishing company [Island Publishing] for my own music, £750, I was able to buy the tape machine of my dreams, and I had that for a few years. Then the Portastudio came out and made it redundant. I still use the Teac four track for recording and playing back soundtracks to my Super 8 home movies — so I can have the different mixes coming in." (*Home Studio Recording*, December 1983)
>
>

### References

* *Home Studio Recording*, December 1983 article
* Photos by Sue Arber and Lynn Goldsmith of Stewart at his home studio from 1979
* The PoliceWiki entry for 24 July 1978

## Sting's TEAC A-3340S

Sting was known to use a TEAC A-3340S 4-track reel-to-reel machine for recording demos in the late 70s. In around February 1980, Sting abandoned the TEAC in favour of the newer TEAC 144 Portastudio cassette recorder.

### References

* *Sound International*, March 1980 - mentions TEAC 4-track.
* Ghost In The Machine tour program
TAMA Imperialstar Midnight Blue 5-ply kit

The TAMA Imperialstar Midnight Blue 5-ply drum kit was one of kits Stewart Copeland played with The Police.

## The "A" kit

This Mignight Blue drum kit was acquired and used during the ***Zenyatta Mondatta*** tour from 9 August 1980 onwards. It had the Superstar bass drum head for that tour.

For recording ***Ghost In The Machine*** and ***Synchronicity***, Stewart Copeland had this Midnight Blue kit (known as the "A" kit) set up in the living/recreation room of the AIR Studios facility, as Hugh Padgham (engineer & co-producer) liked the ambience there.

Besides recording, Stewart had also toured with the "A" kit for both albums, with the standard Imperialstar Bass drum head. For studio recordings the front bass drum head was removed.

According to Jeff Seitz, this kit had originally been set up in the main studio, where the band recorded "Demolition Man", but producer/engineer Hugh Padgham disliked the room sound of the studio so they moved this kit into the dining room. Then towards the end of the sessions they moved this kit back into the main studio after mixing began, where they recorded "Every Little Thing She Does Is Magic". But then it's unclear when the B-kit came into the picture - possibly towards the end of the sessions?

## The "B" kit

This was the second Midnight Blue Imperialstar kit, known as the "B" kit, which Stewart ordered from TAMA for use as a backup. He had this kit set up in the main studio at AIR Studios on Montserrat for ***Ghost In The Machine*** and ***Synchronicity***. The "B" kit was shipped with Remo CS Black Dot drum heads on the toms, which were kept as they sounded good (and didn't get much playing time) - besides the CS heads, the "B" kit is otherwise identical to the "A" kit.

This was a non-touring kit.

## References

* Various photos including ones by Didi Zill
* Jeff Seitz
Somos los Funtime (Canción)

***(Este artículo se refiere a una canción musical. Puede que estés buscando el episodio del mismo nombre).***

## Datos

### Interpretes

Zoe-975Mar1o 640

Jack Pie

Aramis Rabey

Namy Gaga

### Personajes

Circus BabyBidy

Babe

Minie

Reena

Ballora

Funtime Freddy

Funtime Foxy

### Produccion

Dirigida, escrita, ilustrada, por Namy Gaga

Somos los Funtime es una composición musical para el universo de FNAFNG. Se trata de una pieza original, compuesta por Namy Gaga. Sin embargo también es un tipo de remix entre Arreglarte, Sol y abejas, y Circus Show Theme.

## Contexto:

Esta canción es presentada por Los Funtime, durante su primer espectáculo en Circus Baby's Pizza World.

Esta cancion sucede durante el capitulo:

* Somos los Funtime (Capítulo #3)

## Letra:

**Babe**: ¿Haz oído de un lugar?

**Bidy & Babe:** Subterraneo y escondido suele estar

**Babe:** ¿Y tu cumpleaños recordarás?

**Bidy & Babe:** Somos los Funtime, ¡te vamos a ayudar!

**Minnie:** Tal una feria tu vienes a jugar.

**Minnie & Reena:** Y a tus amigos puedes invitar.

**Minnie:** Globos, payasos encontrarás

**Minnie & Reena:** En Circus Baby’s vas a festejar.

**Rolland:** Niños, niñas sean bienvenidos. Recuerden

siempre hay que divertirnos.

Este circo va a entretenerlos.

Freddy y Foxy, Somos los Funtime.

**Roselle:** Si a tí te gusta el Ballet.

Pues Ballora te va a sorprender.

En el circo ríes tú.

Yo te animo todo con actitud – Wouh-

**Minnie, Reena, Bidy, Babe, y Rolland:** Oh Palmas, palmas es hora de gritar.

Enciende las velas, vamos a cantar. Pide un deseo, recuerda ya soplar.

Estando contigo, **Rolland:** (¡Una vez más!) **Roselle:**-¡Es la hora del show!.-

**Minnie, Reena, Bidy, Babe, y Rolland:** Palmas, palmas es hora de gritar.

Enciende las velas, vamos a cantar.

Pide un deseo, recuerda ya soplar.

¿Alguien nos falta? Somos los Funtime. **Roselle:** Ya comenzó…

**Brenda**: Ya me voy presentando, te estoy saludando.

Es Circus Baby a quien tu ya ves. Me alegra que te contenté

**Minnie, Reena, Bidy, Babe, Rolland, y Roselle:**(Es Circus Baby) .

**Brenda:** ¿Es que mi circo te encanta? Ven pronto a mi carpa.

Con tu familia y festejar mejor. Los Funtime dicen con amor.

**Todos:** Somos los Funtime..

**Letra en desarollo uwu.**
1975 Fender Precision standard sunburst

Sting is seen playing a **1975 Fender Precision sunburst bass** in photos taken by Adrian Boot on 10 March 1982 at RAK Studios, London during a recording session probably with Jools Holland (although the photos on the website are incorrectly attributed as backstage ones either on tour or during the *Secret Policeman's Other Ball* event).

This bass doesn't appear to have been seen in any other photos, so it's possible Sting rented this bass for the RAK session. Not much else is known about this bass.

Sting later sold a signed 1976 Fender Precision sunburst bass from his collection, but the bass sold is slightly different to this bass and has standard black potentiometers rather than silver ones (see here).

## References

* The PoliceWiki (photo date)
* Adrian boot photos including this one
This Person Does Not Exist

This article is a stub.This article requires some more information, as it is too short. If you think you have any good information, please add to this page!

## Other

### URL

https://this-person-does-not-exist.com

**This Person Does Not Exist** is a website that uses artificial intelligence to generate a realistic photo of a human being, even though this human being would actually be not real.

The face generator is powered by StyleGAN, a neural network that was developed by Nvidia in 2018. This generators consists of 2 competing neural networks, one that generates an object, and the second attempting to find whether results are real or generated by the first. The training period ends when the first neural network begins to constantly deceive the second.

The creation of photographs of non-existent people was a by- product: the main goal was to train the AI to recognize fake faces and faces in general. This was made in order to improve the performance of its video cards by automatically recognizing faces and applying other rendering algorithms to them. However, since this code is publicly available, an engineer at Uber was able to take it and create a random face generator, which is this website.
Schaller F 121 Fusschweller Foot Volume Controller pedal

Andy Summers is seen using the **Schaller F 121** in footage of the Countdown concert in Voorburg, Netherlands on 7 September 1979, but the model number and name are both obscured. It's listed in Pete Cornish's original routing order for Andy's custom effects board from January 1979, so he might have used it for prior concerts as well. Otherwise relatively little is known about this pedal.

## References

* Countdown concert - Schaller F 121 first seen at 3:53 mark
* Pete Cornish
* Various photos
1962 Fender Jazz

The **1962 Fender Jazz** bass with natural finish is a bass owned by Sting.

## History

The Fender Jazz bass was Sting's first proper bass. He acquired this bass in Newcastle in 1970 for 150 quid, aged 18.

Sting played this bass whilst a member of Last Exit (1974-1977), and had also played it on-and-off throughout his career with The Police between 1977 and 1984, both in terms of live and studio work. The Jazz bass is known to have been used on the Police albums ***Outlandos D'Amour***, ***Zenyatta Mondatta*** and ***Synchronicity***.

By 1987, Sting started using the Fender Jazz bass once again for solo work, having played it on the Amnesty International Police reunion concerts in June 1986.

Sting still owns this bass, and as of 2021 he has been using it for studio work (? - photos by Martin Kierszenbaum show the Jaco Pastorius Jazz bass, not the '62)

## Gear details

As of 1985, the Fender Jazz bass had its stock pickups and didn't have any modifications done to it except a slight refinishing of the neck.

The bass originally came with a bridge cover (visible in many photos from Sting's Last Exit and early Police days), which by February/March 1978 was noticeably removed. Marks and holes near the bridge in most photos show where the bridge cover was once positioned.

Later, presumably sometime between 1986 and 1991, two of the original three black potentiometer control knobs were replaced with Telecaster-style silver ones, and the bridge was replaced with a Schaller 3D-4.

## References

* Sting talks Fender P-Basses, technique and jamming Jaco Pastorius on Music Radar
* *International Musician & Recording World*, July 1979
* *International Musician & Recording World*, July 1985
* *Bass Player*, April 1992
* *Bass Magazine*, November 2003 (Japanese, via Google Translate)
* MusicRadar
* The PoliceWiki
* Various photos
1957 Fender Champ Tweed

The **1957 Fender Champ Tweed** amplifier is currently among the equipment housed at Stewart Copeland's Worried Rabbit studio (a.k.a. Sacred Grove). See Worried Rabbit equipment page for more details.

According to him, he got the Fender Champ when he was in college. He used this amp on early Klark Kent records (including "Don't Care") and possibly for recording demos as well. Eventually it was lost but the Fender Champ was rediscovered (decades later) in an old Curved Air flight case.

## References

* *Strange Things Happen* autobiography (2009)
* Stewart Copeland: Where The Gods Live | Reverb Feature
Simmons Claptrap

Stewart Copeland used a Simmons Claptrap around the *Ghost In The Machine* period. The Claptrap was used both live and in the studio, it appears on "Darkness" on the album.

The Claptrap was used on a few special parts to get a heavy backbeat feel. It was triggered either manually or by a microphone. Jeff Seitz (his roadie) would turn on the claptrap at the right time in a song and shut it off again.

## References

* *Modern Drummer*, October 1982
* Jools Holland interview
Roland SRE-555 Chorus Echo

The **Roland SRE-555 Chorus Echo** is a tape delay/echo unit with chorus and reverb effects.

## Andy Summers' Roland SRE-555

Andy Summers had used an SRE-555 Chorus Echo on the *Zenyatta Mondatta*, *Ghost In The Machine* and *Synchronicity* tours. It was part of the 'Roland Rack' package.

## Stewart Copeland's Roland SRE-555

Stewart Copeland had this unit at The Worried Rabbit studio in 1983 as part of his outboard. He also had the Roland RE-301 Chorus Echo, which he previously used with The Police and created the dub echo effect on the drums.

### References

* Stewart Copeland photo from circa 1983/84, although said to be 1982
Gibson Chet Atkins CE

The Gibson Chet Atkins was a guitar used by Andy Summers and Sting.

## Andy Summers' Gibson Chet Atkins CE (1982 model)

Andy Summers acquired a Gibson Chet Atkins in 1982 and used it to record the ***Synchronicity*** album.

He's seen with this guitar in the "Wrapped Around Your Finger" music video.

### References

* *Musician*, June 1983
* One Two Testing, December 1982 feature with guitar photos
* Wrapped Around Your Finger video - guitar first appears at 0:38 mark
1958 Gibson ES-335

This was one of several Gibson ES-335's that Andy used over his career.

Andy Summers first got this guitar alongside a Guitarman custom electric 12-string in America in late April 1981. He used this guitar to record *Ghost In The Machine* and *Synchronicity*. It was, for example, played on “I Burn For You” (through a Roland Bolt 60 amp), an outtake from *Ghost*, later issued on *Brimstone And Treacle*.

The Gibson ES-335 Andy Summers owned included dot inlays, and was originally left-handed.

## References

* Police File No. 17
* *Guitar Heroes*, July 1983
* *One Two Testing*, December 1982
* *Rolling Stone*, 18 February 1982
Sequential Circuits Prophet-5

**Albums used** | *Ghost In The Machine*
*Synchronicity*

The Prophet-5 synthesizer is a polyphonic synthesizer which was owned by Andy Summers.

, he tended to use the Prophet-5 (often presets) to blend with guitar parts. For instance, he used this technique on "Spirits In The Material World" (the melody that plays throughout the third verse), where Andy created an oriental sound from blending the Prophet-5 with guitar 'played up very high and plucked dry'. Other examples include "King Of Pain" and "Wrapped Around Your Finger" from ***Synchronicity***.

Live, the Prophet-5 accompanied Andy onstage during the Summer 1982 leg of the *Ghost In The Machine* world tour - he's seen playing the Prophet in footage from the 31.7.82 Gateshead concert. Normally he'd have used a Moog Minimoog Model D monophonic synth, but it seems that for subsequent tours he switched back to the Minimoog. Likely because the Prophet was known for being be quite difficult to tour with and requiring a lot of care to maintain it.

## References

* *Guitar Player*, September 1982
* "Footage of Gateshead concert on July 31, 1982"
* Photos in *I'll Be Watching You: Inside The Police 1980-83* by Andy Summers
* Various photos
Roland GS-500

The **Roland GS-500** guitar was used by Andy Summers as a controller for the Roland GR-500 guitar synthesizer on the ***Reggatta De Blanc*** album, on which the GR-500 appears on "Walking On The Moon".

Andy bought the guitar and synth from Manny’s, probably around Spring 1979.

## References

* Photo from Reggatta De Blanc session at Surrey Sound Studios.
Ampeg SVT

On the *Outlandos D'Amour* tour in North America in Spring 1979, Sting had used an Ampeg SVT setup (presumably rented), consisting of an Ampeg SVT amp head (which looks like a 1969 "Blue Line" model) with two SVT-810E 8x10 bass cabinets.

For the *Reggatta De Blanc* tour (or part of it at least), Sting had three Ampeg SVT stacks for amplification. Each of the amp heads appear to be of slightly different variants each, possibly all 1970s "Black Line" models. By early 1980, the Ampeg setup was dropped when Sting's live amp setup was revised with Crown amplifiers and a T.D. cabinet speaker system.

## References

* Photos from the Outlandos D'Amour tour including this one and this one
* The PoliceWiki
* Reggatta De Blanc tour photo
Spector NS-2 white

This bass was used by Sting on the ***Synchronicity*** tour from 1983 to 1984.

## Gear history

Sting had been handed the Spector NS-2 white bass during a soundcheck ahead of a show at St. Louis on 24 July 1983. He proceeded to play the bass at the show, and hadn't paid for it until just after the show: according to Stuart Spector, Sting pointed to Dan [Martin, Spector dealer] and said "write the man a che[que]". Presumably that show was essentially Sting trying out the new bass, that he ended up buying it after the show. He played it for the rest of the *Synchronicity* tour on every show.

The bass is currently on display at the Rock And Roll Hall of Fame Museum in Cleveland, Ohio.

## References

* Never Before Seen Photos of Sting's 30 Year Old Spector NS-2 on Talk bass forums
* *International Musician And Recording World*, July 1985
Linn LinnDrum

The **LinnDrum** is a drum machine released in 1982 by Linn Electronics. It was one of the most popular drum machines of the 1980s, and was Linn's best selling drum machine.

Sting had a LinnDrum as one of his writing/demoing tools around the time of *Dream Of The Blue Turtles* in 1985 alongside the Synclavier - for the sake of convenience he'd select a stock pattern from the Linn or program it himself, instead of using the Synclavier's drum sounds.

For early concert performances in February and May 1985 (as well as the album version recorded between those dates), the LinnDrum was only used for the main drum beat for "We Work The Black Seam". Later live performances (as heard on *Bring On The Night* LP) do not feature the Linn.
Guitarman custom electric 12-string

## Background

Only three Guitarman custom-made electric 12-string guitars have been made - one is owned by Andy Summers and another is owned by The Who's Pete Townsend. These were made between 1980 and 1981 by Chuck Matthews and Tucker Barrett for their company "Guitarman" Instruments, which started on 48th Street in New York.

Andy Summers bought the 12-string from Guitarman in late April 1981 alongside a 1958 Gibson ES-335. He took it along with him for the ***Ghost In The Machine*** sessions, as well as those for ***Synchronicity***. Live, he played the Guitarman 12-string on "Synchronicity I" throughout the *Synchronicity* tour from 1983 to 1984.

The guitar is a solid body with Bartolini pickups installed.

## References

* *Melody Maker*, 2 May 1981 (Musicians' World section)
* Police File No. 19 (mentions custom 12 string, referring to the Guitarman)
* *Under The Volcano* documentary - home footage
* reverb.com auction of third Guitarman electric guitar
* The Police Synchronicity I live
Ampeg amp

Andy Summers used an Ampeg amp early in The Police's career alongside a Fender Twin Reverb. It was used on the *Outlandos D'Amour* album (and part of the tour at least) before he switched to using Marshall amps in January 1979.

## References

* *Melody Maker*, 2 May 1981 (Musicians' World section)
* *Behind The Boards II: The Making of Rock 'N' Roll's Greatest Records Revealed* book by Jake Brown, 2014 (Nigel Gray chapter)
1956 Gibson Les Paul Junior

Andy Summers had two Gibson Les Paul Juniors - a brown (natural) one and a sunburst one. He plays a Les Paul Junior as a slide guitar - e.g. for the guitar solos on "Next To You" and "It's Alright For You".

## References

* *Guitar*, March 1980
* *Guitar Player*, September 1982
* Andy Summers' 11 tips for guitarists on MusicRadar
TAMA Imperialstar Light Blue drum kit

This was one of Stewart's first TAMA drum kits, from 1976. In 2017 this kit was put up for auction.

Stewart used this kit heavily during The Police's early years. It had travelled around small venues when the band were doing shows in the UK. And it had been used to record the "Fall Out"/"Nothing Achieving" single.

He also toured and recorded with this kit on ***Outlandos D'Amour*** and ***Reggatta De Blanc***. In addition to that he also used it for his Klark Kent singles & albums.

But by 1980 the kit was retired from live use and remained at his Buckinghamshire home studio for the rest of the 80s at least. Stewart also used it on his solo projects such as *Rumblefish*, *The Rhythmatist* and recording music for *The Equalizer*.

In 1990 this kit went in storage.

## The Blue kit setup

**Drums**:

* 22" x 14" Bass Drum, serial number 55474
* 12" x 7" Rack Tom 1, serial number 55672
* 13" x 8" Rack Tom 2, serial number 52753
* 16" x 15" Floor Tom 1, serial number 55407
* 14" x 5" Snare drum, serial number 62500

**Cymbals**:
(These varied over the years, but here's the setup as given by the auction)

* 10" Paiste 2002 Splash, serial number 313565
* 20" Paiste ‘Sound Creation’ Bell Ride, serial number 9261(or 7)84
* 24" Paiste Rude Ride/Crash, serial number 122031
* 18" Paiste Signature Series Fast Crash, serial number C6066359
* 14" Paiste 2002 Top Sound Edge Hi-Hat, serial number 122039
* 14" Paiste Rude Hi-Hat (bottom), serial number 122038

## References

* LOT #260: STEWART COPELAND ORIGINAL TAMA DRUM KIT on Julien's live auctions
Fender Twin Reverb

The **Fender Twin Reverb** was one of two amps used by Andy Summers during the early days of The Police - the other being an Ampeg amp. The Fender Twin model used was a 1965 2x12" "blackface" combo.

Andy bought the Fender Twin around 1974 with £300 given to him by Neil Sedaka, shortly after returning from studying classical guitar at Northridge in California.

In the studio the Twin Reverb combo was used to record the ***Outlandos D'Amour*** and (possibly) ***Reggatta De Blanc*** albums. For example, on "Roxanne", Andy plugged the Fender Telecaster into the amp to create the "icy, treble tone" of the guitar on the record. Andy also recalls using the Twin Reverb amp on "Walking On The Moon".

He switched over completely to using Marshall 100-watt stacks for the 'Rock Goes To College' show (Hatfield Polytechnic, 21/02/1979), having rented some before for some live shows.

It's a possibilty that Andy used the Twin on a few songs from the ***Reggatta De Blanc*** which may have been recorded in the week or so prior to the Hatfield Polytecnic concert in February 1979. The Fender Twin seemed to have fallen by the wayside and disappeared from Andy’s resumé afterwards.

If it wasn't a Fender Twin on "Walking On The Moon", the other possibility is that Andy might have confused it with a Music Man 212-HD 130-watt, which looks similar and was used during the next batch of *Reggatta* sessions.

Later on, he did have another Fender Twin around during the *Synchronicity* album sessions as an alternative to the Marshalls "for straight, sharp, proper sort of guitar sounds" according to producer/engineer Hugh Padgham. In photos the model appears to be a "silverface" one, probably a 1968 one. Perhaps the Fender Twin was one that belonged to AIR Studios in Montserrat, as Andy no longer had the Twin by that point.

*Rolling Stone* 15 February 1982 issue mentions Fender Twin as one of the amps used on *Ghost In The Machine*, but it's likely Andy had mistaken it for a Roland Cube 60.which had been mentioned in other interviews.

## References

* *Melody Maker*, 2 May 1981 (Musicians' World section)
* The Police’s ”Every Breath You Take” on Mixonline
* The Police: Ghosts in the Machine on guitarworld.com
* *I'll Be Watching You* book by Andy Summers (photo on page 316)
* Andy Summers' career in gear: "It’s all mythology: sometimes old guitars are great but not always"
* The PoliceWiki (Reggatta De Blanc recording dates).
* *Musician*, September 1987
Pete Cornish custom FX board

Andy Summers commissioned Pete Cornish to make a customised effects board the late 70s, which he frequently used both live and in the studio for most of The Police's career.

His pedalboard contained the following:

* Electro-harmonix Electric Mistress flanger
* MXR M-101 Phase 90 phaser
* MXR M-102 Dyna-Comp compressor
* MXR M-104 Distortion+
* MXR MX-118 Analog Delay
* Musitronics Mu-Tron III envelope follower

## Gear history

Pete Cornish had constructed the original pedalboard in January 1979, removing the shells of the pedals, wiring the pedals together and integrating them in the board. According to Cornish himself and his original plans for the pedalboard, he used the following routing order:

> Guitar> PC LD-1 (Line Driver)> MXR DYNA COMP> PC NB-3 (Linear Boost)> MXR Distortion Plus> PC NG-2 (fuzz)> Post fuzz Send/Return>
>
>

> MXR PH90 (Phase 90)> PC NB-3 (Linear Boost)> [Electro-Harmonix] Electric Mistress> PC NB-3 (Linear Boost)> Post Phase Send/Return> Mutron III> Echoplex Send/Return> Master FX bypass switch> PC LD-1> Volume Send/Return (Schaller F121 volume pedal)> Master Mute (Amps ON)>  PC NB-3 (Linear Boost)> Master Volume> Output select A/B> Output Link (A+B)> two isolated outputs to Marshall amps (As current PC AC 3 Way splitter).
>
>

(Note: all the PC [Pete Cornish] products mentioned in the routing order are the current names of the devices that have the same specification as the original parts of the pedalboard, but weren't yet available as separate units at the time)

However, Andy didn't get on with the PC NG-2 fuzz, so in May 1979 Cornish replaced it with the MXR Analog Delay.

Live, all the effects would go out to a Roland Space Echo before coming back into the board, and the board itself had an overall power switch. This enabled Summers to turn off the pedalboard while playing, cue the effects he needed and bring them all in at once by hitting the switch.

In 1983, Andy Summers had his Pete Cornish setup revised with racks and two pedalboards for the ***Synchronicity*** tour.

## References

* *International Musician & Recording World*, July 1979
* *Guitar Heroes*, July 1983
* *Guitar Player*, June 2007
* Pete Cornish
* Various photos
* Synchronicity tour photo with updated Pete Cornish setup

## External links

* Andy Summers' rig (The Police years)
* Pete Cornish official website
Turning Page

Turning Page is a cover by Sydney Rose. It was released on September 30, 2020. It is a cover of the original song by Sleeping At Last. The cover got popular from TikTok.

LYRICS:

I've waited a hundred years

But I'd wait a million more for you

Nothing prepared me for

What the privilege of being yours would do

If I had only felt the warmth within your touch

If I had only seen how you smile when you blush

Or how you curl your lip when you concentrate enough

I would have known what I was living for all along

What I've been living for

Your love is my turning page

Where only the sweetest words remain

Every kiss is a cursive line

Every touch is a redefining phrase

I surrender who I've been for who you are

For nothing makes me stronger than your fragile heart

If I had only felt how it feels to be yours

Well, I would have known what I've been living for all along

What I've been living for

Though we're tethered to the story we must tell

When I saw you, well I knew we'd tell it well

With a whisper, we will tame the vicious seas

Like a feather, bringing kingdoms to their knees
Roland G-303

The Roland G-303 was a controller for the Roland GR-300 guitar synthesizer. Andy played this live on "Don't Stand So Close To Me" - initially as a guitar, then to control the Roland GR-300 in the bridge - and material from *Ghost In The Machine*.

Andy later used the G-303 as a controller for the newer Roland GR-700, having switched from the G-707.

## Quotes about the Roland G-303

> "It's a very nice guitar to play. I've also got one with a wanger bar on it, which they gave me in Japan, they only made one and they gave it to me which is really nice. And now I've got the other one too — I've got three guitar [synth] controllers, all together. The [GR-808], which is supposed to be the better guitar, I don't like as much as the cheaper one.
>
>

> "The necks are different, the one I like to play just suits me more. They vary, like all guitars. The one I like to play has a thinnish neck, very nice and very easy to play, I like the action on it. It's more like the guitar I'm used to, I suppose. The other one I find a bit more like hard work." (One Two Testing, December 1982)
>
>

> "It’s been very hard for the guitar as a serious synthesizer to compete with keyboards. Generally, this is because the sounds that you can get on it haven’t been anywhere near as good as keyboards, unless you play it through a Yamaha DX7 or whatever. Then you still have the problems of tracking. I must admit, though, it’s much more impressive than it used to be. I recently had my Roland GR-700 completely updated with all the latest software, and its tracking has now come up almost to where the Roland GR-300 was, so I’m quite pleased with that. I’ve got some great new sounds out of it. I continue to use my original Roland guitar. I used the G-707 guitar for a bit, but I’ve gone back to using my 303 - the brown one." (*Guitar Player*, June 1986)
>
>

## Reference

* Live footage
* *Guitar Player*, June 1986
Roland RS-505 Paraphonic

The **Roland RS-505 Paraphonic** was a polyphonic synthesizer released in 1978. It was owned by Stewart Copeland and Andy Summers.

## Stewart Copeland's Roland RS-505 Paraphonic

The Roland RS-505 Paraphonic was Stewart Copeland's favourite synth before he got the Fairlight CMI.

Although his beginnings with the synth are unknown, it can be speculated that it was amongst the Roland gear he and The Police had acquired from Manny's Music Store on 48th Street, New York during one of the band's many trips to the store, probably in 1979.

Stewart had played the Paraphonic mainly to provide simple synthesizer textures to augment the band's sound. He brought it over to Wisseloord Studios to record the *Zenyatta Mondatta* record - for example, it appears as the organ sound on "Bombs Away". He noticeably played it a lot more on the *Ghost In The Machine* album, appearing as background synth string textures on some of the album tracks. "Darkness" and "Rehumanize Yourself" are where the Roland Paraphonic is most prominent, having been used for virtually all the keyboard sounds on those songs.

In addition to those albums, he also worked with it on the **Rumblefish** soundtrack, released in 1984.

### References

* Jeff Seitz
* The PoliceWiki

## Andy Summers' Roland RS-505 Paraphonic

Andy Summers was also known to have a Roland RS-505 Paraphonic synthesizer - it's listed in the *Ghost In The Machine* tour program among his range of equipment. He had it as part of his demoing setup in Ireland in the Summer of 1981.

He possibly also used the Roland Paraphonic on the *I Advance Masked* album with Robert Fripp in 1982 - the album credits state 'Moog and Roland synths', so it could have been one of those referred to in the credits.

### References

* Ghost In The Machine tour program
* *Melody Maker*, 2 May 1981 - in photo featured on top half of the first page, the RS-505 could be seen (although dark and slightly obscured) underneath the Minimoog
Roland Jazz Chorus JC-120

The **Roland JC-120** combo amp is owned by both Andy Summers and Stewart Copeland.

## Andy Summers' Roland JC-120

Andy Summers is a longtime user of the Roland JC-120 - his first known use of the amp was the ***Zenyatta Mondatta*** album in 1980. He continued to use the JC-120 as a go-to studio amp, especially on the last two albums with The Police (***Ghost In The Machine*** and ***Synchronicity***) and collaborations with Robert Fripp (***I Advanced Masked*** and ***Bewitched***).

The Roland JC-120 was used to produce the distinctive stereo chorused guitar sounds on those records. As Hugh Padgham remembers, one speaker of the JC-120 would be chorused while the other had a straight signal creating a widespread stereo sound - on the Police albums, Hugh miked both speakers with a Shure SM57 each. (note: although in the Sound On Sound article on "Every Breath You Take" Hugh mentions Sennheiser MD421, video footage from the Synchronicity sessions in *Under The Volcano* briefly shows a Shure SM57 in front of the amps)

The chorus effects from the JC-120 was likely reproduced with the Roland SDD-320 Dimension D on tour with The Police.

Andy Summers on the Roland JC-120:

> "The Roland JC-120 has been a staple in my collection of amplifiers for as long as I can remember—probably from the day it came out! I have used it on many recordings for its distinctive clarity of sound and always-superior chorus. If I am playing away from home and amps have to be supplied, my first choice is always the JC 120. It is a no-fail amp in just about every situation." (Roland - JC Artist - Andy Summers)
>
>

### References

* *Melody Maker*, 2 May 1981
* *Music UK*, October 1981
* CLASSIC TRACKS: The Police 'Every Breath You Take' on Sound On Sound
* Classic Tracks: The Police's Every Breath You Take on Mixonline

## Stewart Copeland's Roland JC-120

The Roland JC-120 was among the Roland equipment Stewart acquired from "Manny's" on 47th Street, New York. It's not known whether he used this live with The Police, but it currently resides at his Sacred Grove studio.

A Roland Jazz Chorus JC-60 was used to amplify delay effects from the Chorus Echo, so the JC-120 was possibly a backup.

### References

* Stewart Copeland: Where The Gods Live | Reverb Feature on YouTube
Sting Amplifiers & Cabinets

## Last Exit

He used a Fender Dual Showman 2x15" cabinet with Marshall bass amp.

## With The Police

In The Police's early days (1977), Sting appeared to have borrowed several amps, including Marshall bass amps. His main one was a Fender Showman reverb amp and cabinet.

During the *Outlandos D'Amour tour*, Sting was using Marshall bass amps with cabinets. On the US leg, he had borrowed an Ampeg SVT amp setup.

From early 1980 to 1984, Sting had used a T.D. Audio custom-built PA system which Danny Quatrochi helped set up.

Studio-wise, for at least the first three albums with Nigel Gray Sting had used bass amps in the studio - what's heard on records is a combination of both the direct bass signal and the amp sound.
From Ghost In The Machine onwards, however, he preferred to DI his bass into the desk.
Marshall 100-watt

Andy Summers was notable for using a Marshall 100-watt stack setup during his time with The Police.

## Gear history

Andy Summers switched from the Fender Twin Reverb and Ampeg amp to Marshall amps when The Police did a show on 21 February 1979 at the Hatfield Polytechnic. He had rented/borrowed Marshalls beforehand during the *Outlandos D'Amour* tour for the US concerts in Autumn 1978, and in early 1979 for the concerts with Eberhard Schoener.

The Marshalls became his preference for live work, and has used them almost exclusively on subsequent tours with The Police until 1984. Onstage he typically used two Marshall amp heads (likely the JMP 1959 Super Lead Mk. II model) with a 4x12 speaker cabinet (typically a 1960A model) for each one.

In the studio, however, as Andy's equipment arsenal expanded (i.e. from ***Zenyatta Mondatta*** onwards), he would have a range of amps around (including the Marshalls) to try certain guitar and amp combinations and see which one of the combinations would work depending on the song. The Marshall 100-watt was used for the screeching guitar sounds in "Synchronicity II", for example. But Andy liked using a pair of Marshalls for the Roland GR-300 guitar synthesizer, to record them in stereo.

Sometime around 1980, Summers had his Marshall amps "treated a bit" by Pete Cornish - using special valves - "so they're a bit more Deluxe and richer sounding" than standard Marshalls.

## Quotes about the Marshall amp from Andy

> "On Stage I use two Marshall [100-watt's], and I use them about half way on... They've [got] old cabinets - the old cabinets are better, the new ones aren't the same. You know, people say that's not true, but... the old ones are better! No question about it. The one I use is about 15 years old. I've got four of [the cabinets] actually, two of them are old and two of them new. I use two on stage, and we usually carry a spare one with us - sometimes they blow out. Marshalls are still great, they still have *that* sound on stage. They're terrible if you turn them down - you've got to turn them up loud! If you play with them quietly it's a thin tip and a big fat bottom, that's lousy, just really terrible. You've got to get them loud. But when you get them up in a big hall they sound better than anything, I think. You know, I have no trouble playing a sustained lead through them or getting a big sound generally out of them. I like them." (*Music UK*, October 1981)
>
>

## References

* *International Musician & Recording World*, March 1981
* *International Musician & Recording World*, September 1982
* *Melody Maker*, May 2 1981 (Musician's World section)
* *Music U.K.*, October 1981
* *Musician*, June 1983
* The PoliceWiki (Rock Goes To College Hatfield Polytechnic show date)
* *One Train Later* autobiography (2006)
Fender Andy Summers Tribute Telecaster

The **Fender Andy Summers Tribute Telecaster** (2007) is one of the Fender Artist series signature guitar models. It is a replica of the 1963 Fender Telecaster custom hybrid guitar (or 1961 Telecaster as some reports state) - 250 of these were made.

Development of the Tribute Telecaster had taken over a year, and the Signature Telecaster was complete in time for the Police's 2007 reunion tour, when Andy finally took it on tour. The original was kept safe in storage.

## Specification & description

The Telecaster has an Alder body with Maple neck.
Virtually every aspect of the original Telecaster had been reproduced on the signature model, including the ageing, wear, scratches and dents. The crack

A Duncan '59 pickup was chosen as a close substitute to the 1959 Gibson PAF humbucker on the original.

## References

* *Guitar World*
* Andy Summers website Fender guitar
Fender Dual Showman 2x15" cabinet

The Fender Dual Showman was part of Sting's amp setup during The Police's early years, from 1977 to 1978. With his previous band, Last Exit, he had also used the Dual Showman cabinet in conjunction with a Marshall Super Bass amp in the mid 1970s.

## References

* Various photos (Last Exit/The Police)
* The PoliceWiki
Boss FV-100 Guitar Volume

The Boss FV-100 was a volume pedal which was part of Sting's live setup for the ***Ghost In The Machine*** and ***Synchronicity*** tours between 1981 and 1984.

Currently, there is no other information about Sting's use of this volume pedal or whether he used it in the studio as well.

## References

* Various photos including ones in *I'll Be Watching You* book by Andy Summers.
AMS DMX 15-80

The **AMS DMX 15-80** was a digital delay/pitch changer unit released in 1978.

The first use of the AMS in Police music was on *Reggatta De Blanc*. Surrey Sound studios in Leatherhead, Surrey had an **AMS DMX 15-80** digital delay/pitch changer in the late 1970s. It was previously thought to be an AMS DMX 15-80S delay, the version of the AMS delay with stereo input and output, but it turns out that the 15-80S was released in the early 80s.

According to the 1st September 1979 issue of *Sounds* magazine, Andy Summers himself was rather impressed the AMS equipment at Surrey Sound, even though he had his own Pete Cornish custom FX board with a whole array of effects.

The AMS DMX 15-80 was perhaps used to produce the iconic chorused guitar sound heard in "Walking On The Moon". Although there have been suggestions from assistant engineer Chris Gray that it was a SCAMP S24 ADT flanger unit, also available at Surrey Sound at the time. However, Nigel Gray remembers in Jake Brown's *Behind The Boards* book that the AMS was more for providing a stereo sound and harmonizing to produce a chorused sound, more than as a Flanger.

## Stewart Copeland's AMS DMX 15-80

On the *Ghost In The Machine* and *Synchronicity* tours, Stewart Copeland had an **AMS DMX 15-80** digital delay/harmonizer among his array of effects.

Stewart Copeland used the AMS as a backup to the Deltalab DL-4 as he preferred using a delay that was adjustable (i.e. with knobs) - he was only able to do this with the latter.

The AMS's earliest appearance in Stewart's rig was the Frejus concert on 28 August 1980.

## References

* Modern Drummer October 1982 Stewart Copeland feature
* Jeff Seitz
* The Police - Driven To Tears live Frejus 1980 - AMS is seen below Deltalab DL-4 at 0:55 mark

Surrey Sound:

* *Sounds*, 1 September 1979
* Various Surrey Sound ads/articles
* *Behind The Boards II: The Making of Rock'N'Roll's Greated Records Revealed* by Jake Brown
1958 Gibson Les Paul Custom

Andy Summers had a **1958 Gibson Les Paul Custom** among his collection of guitars in the late 70s.

He used the Les Paul Custom on ***Reggatta De Blanc*** album, and at least a few live performances on the tour in late 1979.

He’s seen using the Les Paul Custom in Eberhard Schoener concerts and TV performances from Spring 1978 - Andy's earliest known use of this guitar.

The guitar is listed in the *Ghost In The Machine* tour program. But judging from Andy's guitar collection page, he no longer has this guitar in his possession.

## References

* *Guitar*, March 1980
* Ghost In The Machine tour program
* Various photos
* Eberhard Schoener - Only The Wind May 1978 video performance
Pearl 5"x14" Snare (D4514 Custom Deluxe Chrome-Over-Steel)

The **Pearl 5" x 14" snare** was one of two Pearl snares Stewart Copeland owned with a chrome over steel shell, the other being a Pearl with chrome over brass.

Both Pearl snares were bought around Summer 1979, according to Jeff Seitz's (Stewart's drum tech) research. Seitz believes that both snares were used interchangeably for recording and touring, but it wasn't until 1983 that Stewart settled on the other Pearl snare (more information on that page).

## References

* *Stewart Copeland: Drumming In The Police And Beyond* By Joe Bergini (2021)
Music Man 212-HD 130-watt

Andy Summers had this among his collection of amps. He had used this amp in the studio to record ***Reggatta De Blanc*** during the Summer of 1979 at least.

He also used the Music Man for writing and demoing in Ireland in the early 80s. It's listed in the Ghost In The Machine tour program.

## References

* *Melody Maker*, 2 May 1981
* Various photos
* Ghost In The Machine tour program
Hamer custom basses

Between 1980 and 1981, Sting was a recipient of Hamer custom basses. These custom basses are detailed below.

## Hamer Blitz prototype 8-string fretless

Sting received this bass on 22 November 1980 in Chicago while on the *Zenyatta Mondatta* tour, during which he used it rather sparingly. It was custom-built for him with a Gibson Explorer-shaped body, a maple neck and an unlined fingerboard.

This bass can be seen in the "De Do Do Do De Da Da Da" music video, alongside one of Andy's Hamer guitars.

### References

* The PoliceWiki
* Sting’s 8-String Hamer Explorer Fretless Bass – The Police
* Various

## Hamer Cruisebass (or Cruise bass)

Sting had used a few variations of the Hamer Cruisebass on the *Ghost In The Machine* tour in 1982. He had a red one, a white one and probably a sunburst. The latter is seen in photos from the Marquee Club concert from December 1981. However, some sources incorrectly refer to it as the "Hamer Phantom" bass when there is in fact no such bass model.

The Cruisebass wasn't used as much as other basses as Sting preferred those to the Hamers.

### References

* Marquee Club photo
* Talk Bass forums
* One of the Hamer Cruise basses on auction
Hamer custom guitars

On this page is information about Andy Summers' custom-made Hamer guitars.

## Hamer fretless

This was basically the Hamer Special guitar but with a fretless neck. Andy Summers played this guitar on the "Driven To Tears" solo on the January 11, 1981 concert at The Ritz. He likely received this guitar on 22 November 1980 during the Chicago concert. He noted it was particularly good for solos but not for playing chords.

### References

* *Guitar World*, May 1981
* The PoliceWiki (concert date & Hamer info)

## Hamer Prototype(?)

Andy Summers had received this custom-built guitar - known as the first Hamer Prototype model due to the abbreviated pickguard - on 22 November 1980 when The Police performed in Chicago, IL. Subsequently the Hamer appeared in the "De Do Do Do, De Da Da Da" music video, and was played by Andy on a few of the late 1980 concerts on the *Zenyatta Mondatta*

### References

* The Police - De Do Do Do, De Da Da Da on YouTube
* The PoliceWiki
* Andy Summers Hamer artist page

## Hamer custom

There's a photo from the *Ghost In The Machine* sessions in which Andy's seen with an unidentified Hamer guitar. This unidentified Hamer was hardly ever mentioned in interviews regarding what equipment he recorded with on *Ghost In The Machine*, so it's unclear if this guitar saw any appearances on any album tracks.
Roland SH-2

The **Roland SH-2** was a polyphonic synthesizer owned by Andy Summers.

Andy Summers had used the Roland SH-2 to record synth parts on the *Zenyatta Mondatta* album. The SH-2 probably appears on "Don't Stand So Close To Me" (the keyboard part blended with the guitar melody leading up to the choruses) and "Behind My Camel" (the background synth textures).

The SH-2 is listed in the Ghost In The Machine 1981 tour program.

## References

* Ghost In The Machine Official Tour Program
* *Everyone Stares* documentary (2006) - seen in background of session footage
* Photos in *Police Confidential* by Danny Quatrochi
The Police equipment Wiki

**Welcome to the The Police equipment Wiki!**
A fan-made equipment archive on all things The Police and related solo work from 1977 to 1986 (other periods to be done later).

## Equipment by member

* **Andy Summers**
* **Sting**
* **Stewart Copeland**
* **Henri Padovani (1977)**

## Equipment by album

* The Police
* Solo albums & projects

## Studio equipment

* AIR Studios Montserrat
* Le Studio Morin Heights
* Pathway Studios
* Surrey Sound Studios
* Strawberry South
* Wisseloord Studios
Roland GR-300

The Roland GR-300 guitar synthesizer was used by Andy Summers, controlled by the Roland G-303. He played the GR-300 on tour with The Police from 1980 through to 1984.

The first appearance of the GR-300 on a Police record was during the bridge of "Don't Stand So Close To Me" - previously he used a Roland GR-500 on "Walking On The Moon". Another studio & live example of the GR-300 is the opening of "Secret Journey".

In the studio, Andy preferred to use a pair of Marshall 100-watt amplifiers on the GR-300 to produce a stereo sound. In addition to that, he used the Roland FV-2 volume pedal to help create the distinct swelling guitar synth sound by opening the VCF filter.

Besides The Police, Andy had also experimented with the GR-300 guitar synth extensively on the *I Advance Masked* album with Robert Fripp. On *Bewitched* he used the then-new Roland GR-700.

## Quotes on the Roland GR-300

* "It's fantastic. The guitar [synth] also has a duet switch so you can tune it to any interval you want. Those chords I play through the middle [of 'Don't Stand So Close To Me'] are tuned to 5ths. Then we put that through the flanger, the compressor, a bit of echo and it sounds amazing. I turn the VCF up with the volume pedal and the filter opens up to this beautiful swell" (*International Musician & Recording World*, March 1981)

## References

* *International Musician & Recording World*, March 1981 (UK edition)
* *Music U.K.*, October 1981
* Andy Summers Roland GR-300 demonstration to Jools Holland on Youtube
* *Guitar Player*, June 1986