So equipment

**Drum machines**:

* Linn LM-1
* LinnDrum
* Linn 9000

**Keyboards & Synthesizers**:

* E-mu Emulator II
* Fairlight CMI Series IIx
* Sequential Circuits Prophet-5 (rev 5 and rev 3.3)
* Yamaha CP-70 grand piano
* Yamaha CP-80 grand piano
* Yamaha CS-80

**Other**:

* Aiwa CA-W20 boom box
* Boss CE-3 Chorus
* Friendchip SRC SMPTE Reading Clock

* Hammond B3 organ /w Leslie 122 speaker ("Big Time")
* Fairlight CMI Series IIx
* Yamaha CS-80 ("Don't Give Up" choruses)

**Guitars**:

* Steinberger G2 6-string (“Big Time” & “We Do What We’re Told”)
* ‘62 Fender Stratocaster
* '63 Fender Jazzmaster

**Amps**:

* Roland JC-120
* Marshall
* Mesa/Boogie

**Effects**:

* Boss CE-2 Chorus
* Boss DS-1 Distortion
* Boss SD-1 Overdrive (“Big Time”)

**Guitars**:

* Fender Jazzmaster (green) - e.g. surf guitar parts on "Big Time"
* Ovation 12-string?

**Amplifiers**:

* Fender Deluxe

**Basses**:

* Music Man Black Sabre 4-string (“Sledgehammer” bass)
* Steinberger(?)
* Chapman stick

**Effects**:

* Boss OC-2 Octaver e.g. "Sledgehammer"
* Boss DSD-2
* Ibanez UE-303B(?)

## Manu Katché

* Yamaha drums
* Zildjian cymbals
* assorted African and Latin percussion instruments

## Jerry Marotta

* Yamaha drums
* Zildjian cymbals

## Stewart Copeland

* Jeff Seitz (Stewart Copeland's drum tech) on Stewart's *So* setup: "It was a PG studio drum set that everybody used [Yamaha kit]. I just brought a snare [Pearl 5" x 14" snare /w Chrome overbrass], hi-hats [Paiste Formula 602 13" heavy hi-hats], pedal and his special backrest throne along with a cymbal bag that may not have been used.”

Stewart plays drums on "Big Time" (albeit his drum part was sampled) and hi-hat on "Red Rain"

## Larry Klein

* Yamaha BB5000 5-string fretless ("In Your Eyes", "Mercy Street")
* volume pedal

### Sources

* Bass Brain: How Larry Klein Shapes The Sound Of Joni Mitchell, Peter Gabriel, Bob Dylan, Don Henley...

## Recording & studio equipment

### Microphones

**Drums**:

* Kick:
	+ Sennheiser D112 or Electrovoice RE-20
* Snare:
	+ Shure SM57
* Hi-hats:
	+ AKG C451
* Toms:
	+ Sennheiser MD421s
* Overheads:
	+ Neumann U87s

**Guitar amps**:

* Sony C500
* Shure SM57

**Keyboard PA** (Hammond organ?):

* Neumann U87s

**Vocals**:

* Shure SM57 - initial choice of lead vocal mic, likely used for scratch vocals
* Neumann U47 (lead & background vox)
* Neumann U67 (background vox)

### Outboard gear

* AMS DMX 15-80S stereo digital delay with 1.6-second sampling
* AMS DMX 15-80S stereo digital delay with 14-second sampling (received July 1985)
* AMS DMX 15-80 mono harmonizer
* AMS RMX-16 reverb (x2)
* Brooke Siren DPR402 compressor/limiter
* Deltalab DL-2 acoustic coupleers (x2)
* 4 Decca compressors
* Dbx 160s compressor/limiter
* EMT 140 plate
* Eventide H910 Harmonizer
* Korg SDD3000 digital delay
* Lexicon 224 reverb
* Quantec Room Simulator
* Robis parametric equalizer
* Roland SDE-3000 digital delay
* Sony DRE1000 reverb unit
* Friend Chip SRC SMPTE reader
* Universal Audio LA2A compressors (x2)

### Tape machines & mastering

* 2 x Studer A80 – one normal, one modified
* Lyrec TR532
* Mitsubishi X850 digital 32-track
* Ampex ATR-100 1/2-inch
* Revox B77 1/4 inch
* Sony PCM-F1

**Miscellaneous studio equipment**:

* Adams-Smith 2600 synchronizer
* SSL 4048 E-series console – a.k.a SSL 4000
* Yamaha NS-10 monitors

### References

* Classic Tracks: Peter Gabriel's Sledgehammer
* *Musician*, July 1986
* Kevin Killen: ON RECORDING PETER GABRIEL, ELVIS COSTELLO AND MORE