recursal/Fanatic-Fandom huggingface dataset:
Steinberger GL2T

The **Steinberger GL2T** (or GL-2T/GR with guitar synthesizer function) guitar was used by Daryl Stuermer and Mike Rutherford.

## Mike Rutherford's Steinberger GL2T/GR

Mike Rutherford had started out with the Steinberger L2 bass in 1983, which he played on the *Genesis* album. By the time of *Invisible Touch* in 1985/86, he moved onto using the **Steinberger GL2T** 6-string guitar with tremolo arm - he played this guitar on the album and its subsequent tour.

He felt the Steinberger guitar was too small for him (that he referred to it as his 'George Formby guitar'), that he asked Steinberger to custom-build him one but was without success. Mike, luthier Roger Giffin and roadie Geoff Banks then developed a guitar that Steinberger later copied and issued as the M series.

In the late 1980s, Mike used to write with the Steinberger MIDI'd to a couple of Yamaha DX7 keyboards. And he also played the Steinberger live as a member of Mike + The Mechanics on the *Living Years* tour in 1989...

### Quotes on the Steinberger GL2T/GR

> "Basically, I did [Genesis’s 1986 album] *Invisible Touch* and the corresponding tour with Steinberger guitars. I kept saying ‘It’s so small, can I have a bigger one?’ I asked them to build a bass with more of a body on it, but nothing happened, so I got some cardboard and drew out a shape and I got [luthier] Roger Giffen to build me one, which sounded pretty good."
>
>

> (from roadie Geoff Banks) "The Steinberger hadn't been used much on [We Can't Dance] except for the synth which he's got fitted to it 'cause it has no dead spots, and I think live the Strats will feature as the dominant instruments. Steinbergers are very versatile but I think the classic sound and look appealed. Besides, Mike's so tall that the Steinberger looks like a toothpick on him. Strats at least make him look less awkward." (*Guitar Magazine*, February 1992)
>
>

### References

* Genesis at The Farm, 1986 - Steinberger first seen at 4:15 mark
* Mike Rutherford: ”I covered a lot of ground with the double-neck and bass pedals – they gave the band an extra sound” (Guitar World)
* *Guitarist*, June 1989
* *Guitar Magazine*, February 1992
* *Guitarist*, February 1993

## Daryl Stuermer's Steinberger GL2T/GR

Alongside Mike Rutherford, Daryl Stuermer used a **Steinberger GL2T/GR** on the *Invisible Touch* tour from 1986 to 1987. It was also played on Stuermer's solo album *Steppin' Out*.

The guitar was sold over three decades later, auctioned on Reverb. Serial #3760. Description is as follows:
"This guitar is in pretty great cosmetic shape. There are some scratches here and there. There is a bit of tape residue by the battery compartment. It appears that the pickup that is for the synth controller aspect of the guitar has been removed so that function has been rendered non functioning. The guitar functions properly other than that. Ships with soft shell case as well as road case. Comes with several packs of extra strings."

Stuermer also had the Steinberger XL2 black bass, which too was auctioned off on Reverb.

### References

* Daryl Stuermer's Steinberger GL2T/GR on reverb.com
Peter Gabriel 2 (a.k.a. "Scratch") tour 1978

## Peter Gabriel

**Keyboards**:

* Hammond C3 organ
* Freeman String Symphonizer
* Yamaha CP-70 electric grand piano

**Effects**:

* Boss CE-1 Chorus Ensemble

**Vocal microphone**:

* Shure SM58

**Miscellaneous**:

* Crown amplifiers
* Randall amplifiers/speakers
* Yamaha PM-400 mixer

## Larry Fast

Synthesizers:

* Moog Micromoog (x2)
* Moog Minimoog Model D (1970s model)
* Moog Model 15 modular
* Moog Polymoog 203a
* Sequential Circuits Prophet-5 (rev 1)
* Oberheim Synthesizer Expander Modules

**Sequencers**:

* Oberheim MS-1 Mini-sequencers
* Oberheim DS-2 digital sequencer

**Miscellaneous**:

* 360 Systems frequency shifter
* Yamaha PM-400 mixer

## Timmy Capello

* Various keyboards including Yamaha CP-70 - see PG's rig for details
* Selmer Mk. IV tenor
* Shure SM-58 microphone

## Tony Levin

**Basses/guitars**:

* Fender Precision bass /w natural finish
* Chapman stick

**Amplification**:

* Marshall JMP 2204 50-watt amp head
* Marshall 2x12 cabinet

**Effects**:

* MXR MX-101 Phase 90

## Sid McGinnis

**Guitars**:

* Fender Stratocaster with shiny pickguard
* Martin D28 acoustic
* MSA S10 Steel Pedal (“White Shadow” etc.)

**Effects**:

* MXR M-113 Digital Delay

**Amplification**:

* Marshall JMP 1959 Super Lead 100-Watt
* Marshall 1960BV 4x12 cabinet
* Roland JC-120

## Jerry Marotta

* Yamaha drums(?)
* Zildjian cymbals
* Pollard Syndrum Quad model 478 analog drum synthesizer /w pads
* Remo drum heads (CS on one of the toms)

## References

* *International Musician And Recording World*, January 1979
* Larry Fast website & photos
* Rockpalast concert: https://www.youtube.com/watch?v=amxDkP\_0gxs
* Gettyimages
PAiA Programmable Drum Set

The **pAiA Programmable Drum Set** is a drum machine, which was used by Peter Gabriel. It was one of the first programmable drum machines, a precursor to the Linn drum machine in terms of programmability, and came as a DIY package.

According to Larry Fast, the Programmable Drum Set appears on tracks "Biko" and "Games Without Frontiers". Except that for the latter it is based around a Roland CR-78 pattern, so it was probably for the low percussive bass drum sounds in the outro.

## References

* Larry Fast talk with Bob Moog foundation
* Peter Grabriel interview
Peter Gabriel 4 equipment

## Peter Gabriel

**Keyboards & synthesizers**

* Fairlight CMI Series I
* Moog Polymoog 203a
* Sequential Circuits Prophet-5
* Yamaha CP-70 electric grand

**Effects**:

* Boss CE-1 Chorus Ensemble (x2) - on top of Fairlight, and possibly there's a third one for the CP-70
* Dbx 165 compressor
* Deltalab DL-2 digital delay /w MB4 memory module
* Ibanez UE-700 multi-effects unit
* Roland SDD-320 Dimension D

**Drum machines**:

* Linn LM-1
* Roland CR-78 CompuRhythm]] - not used, but seen in footage

**Miscellaneous**:

* Sharp GF-8585 boombox
* Radio Shack $9.95 amplifier - Larry Fast's

## Larry Fast

* Fairlight CMI Series I
* Moog Model 15
* Moog Polymoog 203a
* Sequential Circuits Prophet-5
* Oberheim MS-1 Minisequencers
* Oberheim SEM

## David Rhodes

**Guitars**:

* 1963 Fender Jazzmaster (white)
* 1962 Fender Stratocaster

**Amplification**:

* Roland JC-120 (likely)
* other amps unknown

## John Ellis

* Fender Stratocaster (black, with silver pickguard, possibly custom)

## Tony Levin

* Chapman 12-string stick
* Marshall 100-watt amp
* Marshall cabinet
* Yamaha SB-100 Professional System effects pedalboard

## David Lord

* Fairlight CMI Series I
* Moog (possibly Polymoog 203a) ("Lay Your Hands On Me")
* Sequential Circuits Prophet-5 ("Lay Your Hands On Me")

## Recording & Studio equipment

### Microphones

**Drums**:

* AKG C-12(?) (overheads)
* AKG C460B(?) (snare)
* AKG D-12 or Electrovoice RE20 (kick)
* Beyerdynamic M160 (hi-hat)
* Neumann U47 (x2, toms)
* Neumann U87 (toms)

**Ekome percussion**

* Neumann U87s (mostly)
* Neumann U47 FET

**Vocals & radio shack-processed sounds**:

* Shure SM57

Sources: Photos, David Lord interview

### Outboard gear

* AMS DMX 15-80 digital delay/pitch changer
* AMS DMX 15-80S stereo digital delay/pitch changer
* AMS RMX-16 digital reverb
* Dbx 165 compressor
* Dolby 361 noise reduction system
* Dolby M16 24-track
* Deltalab DL-2 digital delay /w MB4 memory module
* EMT 140 (Crescent studios only, assumed)
* EMT 240 (Crescent studios only, assumed)
* Ibanez UE-700 multi-effects unit
* NEI Real Time Analyser model 2079A
* Roland SDD-320 Dimension D

Sources: Crescent Studios information, South Bank show (see references for link)

### Tape machines & recorders

* Brenell Mini 8 8-track (demoing)
* MCI JH-110 2-track (demoing)
* Revox A77 mk. IV 2-track (demoing)
* Sony PCM-1610 (mixdown at Crescent studios)
* Studer A800 24-track (Ashcombe)
* Studer A80 1/2" 2-track (Ashcombe)

Sources: South Bank show, album credits

### Mixing consoles

* Neve (Crescent Studios)
* SSL 4000E or 6000E ("Shock The Monkey" mix at Sarm West by Julian Mendelsohn)

Sources: Crescent Studios information, Sarm west reports (SSL)

## References (common to all)

* Peter Gabriel on South Bank show - documentary on the making of PG4
* Larry Fast photos
* Crescent Studios information
* Album credits
Roland TR-808

The Roland TR-808 was one of the array of Roland drum machines Phil had. He had two of them, one with MIDI.

The TR-808’s first use was on *Abacab* album in 1981. Although for the most part the drum machine was involved in writing and most parts tended to be replaced (like with other subsequent albums), the 808 was used and featured quite heavily on "Man On The Corner". Plus, its clap & percussion sounds were left on "No Reply At All".

The drum machine was also used by Phil to write and record songs on the *Hello, I Must Be Going*, *No Jacket Required* and *But Seriously* albums, with 808 parts kept for some songs to varying extents; the drum machine is at the forefront of hits such as "One More Night" and "Another Day In Paradise".

Sounds from the TR-808 were sampled into an E-mu SP-12 - contrary to what is stated in the 808 interview, this was most likely around the time of *Invisible Touch* rather than *We Can’t Dance* (which used the SP-1200, its update). Hence the 808 appears on both albums, but often in sampled form - with the SP-12 and 1200 offering more flexibility.

*Both Sides* had TR-808 sounds throughout; Collins felt the 808 was getting "tired" by that point, so he used both that and the SP-1200 808 samples.

## References

* Abacab tour program
* *No Jacket Required* album credits
* 808 The Movie - Phil Collins (Full Interview)
Linn 9000

The **Linn 9000** drum machine was the successor to the LinnDrum.

Peter Gabriel acquired the Linn 9000 in early 1985, but hadn't fully gotten to grips with it when it came to recording the *So* album not long afterwards - a LinnDrum was a backup. He ended up using the Linn 9000 for most of the drum machine parts; on the demos it was mostly the Linn and Prophet-5.

## Quotes on the Linn 9000

> "The only new things were the Emulator II and the Linn 9000, though I didn't have time to get into the Linn properly before I started recording. Part of the catch with these things is that you do need time to get to know them. If the equipment arrives after you've started recording, you have to take it out of the studio to get to grips with it, which I didn't feel like doing in this instance."
>
>

## References

* *Electronics & Music Maker*, June 1986
* *Musician*, July 1986
* Classic Tracks: Peter Gabriel's Sledgehammer
Kramer DMZ-3000

In the late 1970s, Mike Rutherford used a black **Kramer DMZ-3000** guitar for occasional lead lines. It was probably one of the guitars he borrowed from a keyboard roadie who was an avid guitar collector.

He used the Kramer in the studio on *Smallcreep's Day* and probably *Duke*. Otherwise very little is known about Mike's use of this guitar, though he does appear in a Kramer advert (featured on this page).

## References

* *International Musician And Recording World*, May 1980 (UK)
Ibanez UE-700

The **Ibanez UE-700** was a multi-effects rack unit, one of the first to be released to the market. Released in the late 1970s, it's said to be extremely rare; to quote from an Ibanez brochure, "each UE-700 is hand built from meticulously selected components for the utmost reliability and performance."

Peter Gabriel had owned an Ibanez UE-700, which he had used live on the *Peter Gabriel 3* (a.k.a. "Melt") tour in 1980 and in the studio for *Peter Gabriel 4* (a.k.a. "Security") in 1981.

## References

* South Bank show
* various photos including [https://atlasicons.photoshelter.com/image?&\_bqG=9&\_bqH=eJyrMnA1dzZJzCxLy89wKrWM9wgpsYws90yJLzGwMre0MjI1sDI0AAIrz3iXYGfb9NS81OLMYm1DSwsDNbBQvKOfi20JkB0a7BoU7.liGwpSrpeSlhuaUxJmWG6gFu\_oHGJbnJpYlJwBADWxIWs-&GI\_ID= this one] - Ibanez UE-700 seen among rack units
Movement MCS Drum Computer Mk. I

Phil Collins had owned a **Movement MCS Drum Computer Mk. I**, which he used to write and record the ***Hello, I Must Be Going*** album in 1982. It's basically an English version of the Linn. Percussion sounds from the Movement can be heard in "I Don't Care Anymore" and "Do You Know, Do You Care?". Otherwise, all the drum machine parts have been removed and replaced on the final record either with real drums or percussion. He described the Movement as "so erratic" and difficult to operate, contrary to the quotation below.

In Spring 1983, Collins switched to the updated version, the Movement MCS Drum Computer Mk. II.

## Quotes on the Movement

> "I've got an English machine called the Movement, which is like the English Linn. I've got the original model [the Mk. I], but six months ago they promised me the new one [the Mk. II] in a week. I'm 'top of this list', supposedly. It's for a person who's not very good with manuals, which I'm not. It makes it very easy. 'First you do this'. Right. 'Then you do that.' You call it a name. You set how many beats to the bar you want and it makes it simpler. It just comes up on the screen like a computer. They've remodeled that and they're waiting for the parts from Japan. I've made my own little [computer] chips, so I've got my own 'In The Air'/'Intruder' sound on my own chips, which will be in this newer machine later on."
>
>

## References

* Genesis Information Issue 29 (article on pages 3-4, 10-11, 15-16)
* *Modern Drummer*, November 1983
Roland TR-909

The **Roland TR-909 Rhythm Composer** was among the array of Roland drum machines Phil Collins owned in the mid-1980s. He used it on the **No Jacket Required** album, on "Take Me Home".

## Quotes from Phil about the Roland TR-909

> "Well, to me the Linns, although they revolutionised drum machines, reproduce real drum sounds, and that is not particularly exciting to me. What I like are the more unusual percussion sounds that the Roland machines have, some of the effects they give you with the [Emulator] SP-12 and of course you can sample your own. The Roland [TR-]909, which I used on 'Take Me Home', actually has more character, because the sounds are all rubbery, elastic band sort of sound." (*Drums And Drumming*, Summer 1987)
>
>
Us equipment

## Peter Gabriel

* Akai MPC-60
* Akai S1100 sampler
* Akai S1000
* Sequential Circuits Prophet-5
* Korg Wavestation
* Roland D-50
* Yamaha CP-80 electric grand piano
* Vox AC-30 amplifier for keyboard
* Performer software

## Tony Levin

* Music Man bass
* Status bass
* Trace Elliot bass amps & cabinets

## Manu Katche kit

* Hayman 20" bass drum
* assorted percussion
* snare

## Recording & Studio equipment

### Microphones

**Drums & percussion**:

* B&K Cardioid mics (for percussion used in the place of toms on drum kit)
* ElectroVoice RE20 (kick drum)
* Shure SM57 (snare drum, top & bottom)

**Guitar & bass cabinets**:

* AKG D12
* Shure SM57

**Vocals**:

* Neumann U47

### Outboard gear & effects

* Decca compressors
* Quantec Room Simulator
* Roland SDD-3000

### Mixing consoles

* API (Kingsway Studios)
* SSL 48-input console (loft studio at Real World Studios)
* SSL 40-channel G series console (production room at Real World Studios)
* SSL 72-channel G series console (main studio at Real World Studios)

### Other

* AudioFrame digital workstation
* Mitsubishi X-850 32-track digital tape machine
* Studer A820 24-track Analog /w Dolby SR
Roland CR-78 CompuRhythm

The **Roland CR-78 CompuRhythm** was a preset-based drum machine used by both Phil Collins and Mike Rutherford.

## Phil Collins' Roland CR-78

Phil Collins had a Roland CR-78 drum machine at his Old Croft home studio for the writing and recording of material that would form the basis of ***Face Value***. He remembers he was originally offered the drum machine by Roland when Genesis was on tour in Japan in 1978, but declined. When discovering that he had more time on his hands once he arrived back, he rang them up asked for one as a tool to help flesh out the music inside him and realise his ideas.

The CR-78 is notably the drum machine on "In The Air Tonight". On that song he used the *Disco 2* rhythm preset, with the tempo slowed down. Phil also programmed some additional bass drum into the machine for the looped beat. The drum machine and keyboard parts on that song were retained from the demo on the final record as it was rather difficult to recapture the mood and feel of the demo in the first place.

Even though Collins stopped writing or recording with the CR-78 by the time of *No Jacket Required* (as he began to favour the newer, programmable drum machines like the LinnDrum and Oberheim DMX), he continued to use it live on "In The Air Tonight" and "This Must Be Love".

With Genesis, the CR-78 was used for the drum machine pattern on "Duchess" from *Duke* (both on the album and the tour).

### References

* Classic Tracks: Phil Collins' In The Air Tonight
* *Drums And Drumming*, Summer 1987
* various

## Mike Rutherford's CR-78

Along with Phil and Tony, Mike received the Roland CR-78 fresh off the production line while the band were on tour in Japan in 1978.

## Peter Gabriel's CR-78

A CR-78 is seen at Peter Gabriel's home in footage from the *PG4* sessions. THe CR-78 was used to provide the main rhythm on "Games Without Frontiers", alongside a pAiA Programmable Drum Set.
Red Ranger

The **Red Ranger** is a designation given to one of the main character of this season of Jazzy Rangers. The Red Ranger is usually the leader of the team, although there have been times where Rangers of other colors have been leaders. In recent times, Red Rangers have also been given the role of hot-headed rookie. Red Rangers also usually receive the most powerful weapons. The Red Ranger's main weapon traditionally is a sword, but some have used blasters. Jazzy Parker is the main leader Red Ranger.
MXR MX-134 Stereo Chorus

The **MXR MX-134 Stereo Chorus** is a chorus pedal used by Tony Banks. It replaced the Boss CE-1 Chorus Ensemble around the time of *Abacab* in 1981.

The MXR chorus was used on the Yamaha CP-70 plus other synthesizers to thicken the sound. By the time of *Invisible Touch*, the MXR was replaced by the Boss CE-300 Super Chorus.

The unit is currently one of the pedals owned by Dave Kerzner of Sonic Reality.

## References

* *Genesis Information* magazine issue 27 (page 15-16)
* Loyal Fans of Genesis & Related Music Facebook group (Dave Kerzner)
MXR MX-117 Flanger

Mike Rutherford was known to use an **MXR MX-117** flanger pedal throughout the late 1970s and early 1980s with Genesis. He started using the pedal as early as 1977.

The MXR flanger was particularly useful in creating the unusual guitar sound heard in the intro to "Follow You, Follow Me", Genesis' first hit single.

## References

* Various photos
* Genesis: The Stories Behind The Songs
Steinberger L2 black fretless

Mike Rutherford used a Steinberger L2 fretless bass on "Just A Job To Do" from the *Mama* album.

## Quotes about the Steinberger fretless

> I started off with a Steinberger fretless. I'd always wanted to play fretless but never had time to work at it. One of the dealers came down and I tried it out — I use Trace Elliot stuff, so Soundwave showed me the Steinberger too. The fretless was lovely. It looked odd but I don't mind that, not being a particularly traditional person.
>
>

> "I borrowed it for a while, recorded one song and it played so easily — it wasn't a particularly easy song, either. That was 'Just A Job To Do' on the new album — it's a fast track to play fretless on, so it's certainly an easy bass to play.
>
>
Fairlight CMI Series I

The **Fairlight CMI Series I** was the first of the Fairlight CMI digital samplers and early workstation synthesizers. It was used by Peter Gabriel and Larry Fast.

Peter's association with the Fairlight began with the *Peter Gabriel 3* album - also known as *Melt*. It was when they were renting one to try out on the album (as Fast remembers), or the Fairlight used was most likely one of the first off the production line that was delivered to Gabriel during the sessions. Which was around 1979. Peter Vogel (inventor of the Fairlight) was photographed with Peter's Fairlight at The Townhouse studios by Larry Fast.

Gabriel was the first Fairlight owner in the UK. He went on to introduce it to Kate Bush, who also got hold of one. It was on the *Peter Gabriel 2* album (a.k.a. *Security*) where he further experimented with the Fairlight. He even wrote songs like "Rhythm Of The Heat" on the Fairlight.

Gabriel later upgraded to the Fairlight CMI Series IIx.

## Quotes on the Fairlight

> *"I think the first stop was in LA—it might have even been a Stevie Wonder session, when he was recording* Journey Through ‘The Secret Life of Plants’ *He immediately latched on to it: “we can put nature sounds in here that will work really well with this concept.” From there we went all over the place, but the next major connection was that someone knew Larry Fast, who was working for Peter Gabriel. He was Gabriel’s synthesizer player and he was recording in New York at the time, and they said “can you come up to New York and we’ll have a look at it”. So we went up to New York and he looked at it and then he rang someone else at another studio and that’s how it went. And then I delivered the first machine to Peter Gabriel in the UK."* (Peter Vogel on how the Fairlight got to Peter Gabriel)
>
>

> "Yeah, it is amazing. It's something I've dreamt of for a very long time. I never thought I'd actually get my hands on one. It generates sound internally, which I never use at all, or you can get external sounds fed into it. So you can take just one note, like a tap on this paper cup (taps a cup) and the computer will then show it on a TV screen, in its wave form. Then you can manipulate that and then send it back out of the computer to a keyboard. You can then play a tune on the tapped plastic cups. The options are amazing. There are two or three other machines now that do that. They're now the price of a small house, but when the Japanese get to them and they become add -ons to the home computer, they'll be as common as pianos." (*Modern Recording & Music*, June 1983)
>
>

## References

* Peter Gabriel demonstrating the Fairlight
* Conversations in the Key of Moog (with Larry Fast)
E-mu SP-12

The **E-mu Systems SP-12** was a sample-based drum machine owned by Phil Collins and Mike Rutherford.

## Phil Collins' E-mu SP-12

Phil started to use this drum machine around the time of recording *Invisible Touch* in 1985/86, using it for sampled sounds on the album - this replaced the Movement MCS Drum Computer Mk. II. According to him, he copied sounds from the Roland TR-808 onto this drum machine, though that might have been the SP-1200 instead (which eventually replaced it); he's listed as using both SP-12 and 808 on the Invisible Touch tour program, so it's rather unlikely he had done so with the SP-12.

### References

* *808: The Movie*
* Various photos taken at The Farm in 1986 - SP12 in background
* Hugh Padgham 80s podcast interview

## Mike Rutherford's E-mu SP-12

Mike Rutherford used the SP-12 for writing & demoing purposes for the *Living Years* album: "My method is to get my E-mu SP12 drum machine going with a pattern. That runs the Linn, and the Linn cowbell sets a beat on the un-MIDI'd bass pedals which I pitch with my feet while I'm playing chords with my guitar synth and singing. So I can get quite a full sound!"
Gibson EDS-1275/Yamaha TRB-4P double neck

The **Gibson EDS-1275** and **Yamaha TRB-4P** double neck is the latest in line of Mike Rutherford's double neck guitars. This guitar used the 12-string top half of the **Gibson EDS-1275**, which was combined with the **Yamaha TRB-4P** bass as the bottom half.

It was this very double neck that was notably played by Mike on the Genesis 2007 and 2021 reunion tours, plus various other tours in between. Previously he had been avoiding the double neck for more than a couple of decades, the last time being the *Mama* tour from 1983 to 1984, when he was using the Strata double neck.

Mike Rutherford also has a separate Yamaha TRB-4P bass which he'd play on a few of the Steve Hackett-era (1971-77) songs.

## Quotes on the Gibson 12-string/Yamaha TRB-4P double neck

> "I also decided to have a new double-neck made that combines two guitars I really like for playing the earlier Genesis material, as opposed to going with a totally custom job where you don’t know what you’re going to get until it’s complete. I got a British luthier team called Charlie Chandler’s Guitar Experience to take the 12-string top half of a Gibson EDS-1275 double-neck, and combine it with a Yamaha TRB-4P bass for the bottom half. We went with the Gibson EDS-1275 because there are so very few solidbody 12-strings made these days that we could marry to a solidbody bass. You lose some of the resonance when you go this route, but the overall sound of both instruments is still mostly there." (*Guitar Player*, August 2007)
>
>

## References

* *Guitar Player*, August 2007
* Various photos
Premier Soundwave kit

A **Premier Soundwave** kit was one of the kits Phil used. It featured double-headed concert toms.

He played this kit on the *Duke* tour with Genesis in 1980. Besides that he had also used the double-headed Premier for session work with John Martyn, as Phil felt its "leathery" sound suited his mellow music.

## Setup

**Drums**:

* 20" bass drum (assumed)
* 8" rack tom
* 10" rack tom
* 12" rack tom
* 14" rack tom
* 16" floor tom
* 18" floor tom

## References

* Phil Collins: Rejoining the Premier League pt. 2
* Phil Collins 1980 Premier poster with Soundwave kit
* *International Musician And Recording World*, May 1980
Colorsound Tonebender Fuzz

The **Colorsound Tonebender** was a distortion (fuzz) effects pedal used by Mike Rutherford, Steve Hackett, Daryl Stuermer and Tony Banks.

## Mike Rutherford's Colorsound Tonebender

The Colorsound Tonebender was one of several distortion boxes owned by Mike Rutherford. He used it from the late 1970s to mid-1980s, both live and in the studio.

## Daryl Stuermer's Colorsound Tonebender

On his first tour with Genesis in 1978, Daryl used a Colorsound to recreate Steve Hackett's guitar sound.

## Tony Banks' Colorsound Tonebender

Tony Banks tended to use a couple of Colorsound Tonebender distortion boxes for effects on his synthesizers in the early 1980s. Tony commented: "They're the kind of fuzz [boxes] I like - low quality. Much as I like MXR, I don't like their fuzz boxes [the MXR MX-104 Distortion+]. I find that they're too good. For some reason, the better the box, the worse the keyboard sounds."

It's unclear if Banks used the Colorsound live, as tour programs from 1980 to 1982 simply list 'MXR/Roland & Boss effects' under his name in the equipment list without much further detail. But it was certainly put to use in the studio; for "Dodo/Lurker" the bass sound was created by putting the Yamaha CS-80 through the fuzz.

### References

* *Genesis Information* magazine issue 27 (page 15-16)
* *Keyboard*, November 1984
Tony Banks equipment

## Keyboards

As many a Genesis fan would know, Tony Banks himself had used a range of keyboards over the course of his career with Genesis, his setup going through a variety of iterations.

He started off with a Farfisa organ in the early days of Genesis in the late 1960s, which he borrowed. Eventually, around the time of *Tresspass*, he got the Hammond L-122 organ, also incorporating a Hohner Pianet N and Mellotron Mk. II - those were his main keyboards during the early 1970s. In 1973 and 1974 (respsectively), he upgraded from the Mk. II to the Mellotron M400, and replaced the Pianet with an RMI electric piano.

In 1980, the Mellotron M400 was replaced with the Roland VP-330 Vocoder Plus, and a Sequential Circuits Prophet-5 was added to the setup.

In 1983, the Prophet-5 was dumped in favour of the Sequential Circuits Prophet-10.

## Guitars

Tony Banks is also known to have played 12-string guitar for Genesis on occasion, besides keyboards. He played 12-string guitar on Genesis albums ranging from *Tresspass* (1970) to *Selling England By The Pound* (1973) - it was on those early albums he developed the band's distinctive layered 12-string sound with guitarists Mike Rutherford and Anthony Phillips (replaced by Steve Hackett in 1971). Although by the time of *Lamb Lies Down On Broadway* Tony retired the 12-string as a studio instrument, he continued to play one live until the *Duke* tour. Mainly because of the band distancing away from playing their early 70s material laden with 12-string duets, like "Supper's Ready".

The *...And Then There Were Three* tour program mentions Tony playing an Epiphone 12-string with Ernie Ball strings
Genesis tours

This page contains links which redirect to equipment pages for the following Genesis tours:

* Foxtrot tour (1972-1973)
* The Lamb Lies Down On Broadway tour (1974-1975)
* A Trick Of The Tail tour (1976)
* Wind And Wuthering tour (1977)
* …And Then There Were Three tour (1978)
* Duke tour (1980)
* Abacab tour (1981)
* Three Sides Live tour (1982)
* Mama tour (1983-1984)
* Invisible Tour (1986-1987)
* We Can't Dance tour (1992-1993)
* Turn It On Again: The Tour (2007-2008)
* The Last Domino? tour (2021)
Solid State Logic SL4048E

Peter Gabriel had owned an **Solid State Logic SL4048E** console, which resided at Real World studios in the loft studio, known as the 'Work Room'.

The SSL 4048E was first installed in early 1985 at Gabriel's Ashcombe home studio setup, and he used the SSL to record and mix most of the *So* album. Some reports refer to it SSL 4000E while others state 4048E - the 4048 is the 48-channel version of the 4000 console, so is listed here as such anyway.

According to an article on Real World Studios published in the January 1990 issue of *Studio Sound* magazine, the SSL 4048E (moved to the loft studio) had *Total Recall* automation, and was also fitted with G-series EQ & computer, integral synchroniser and the Real World Studios' *Automated Send Matrix*. Some of the modifications are similar to ones done to the SSL 4080G in Control Room one.

Note: the Sound On Sound 'Classic Tracks: Peter Gabriel's "Sledgehammer"' article (see References) mentions the SSL having 56 inputs, while another article published in *Musician* magazine in 1986 stated it had no fewer than 48 inputs. The latter article is more reliable; Kevin Killen (engineer of *So*) most likely misremembered the number of inputs on the SSL at Ashcombe (during the SOS interview) as he had worked with so many other SSL consoles over his career.

## References

* Classic Tracks: Peter Gabriel's "Sledgehammer"
* *Studio Sound*, March 1985 (installation)
* *Musician*, July 1986
* *Studio Sound*, January 1990
Peter Gabriel 3 equipment

*This page is under development*

## Peter Gabriel

**Keyboards & Synthesizers**:

* Fairlight CMI Series I
* Moog Polymoog 203a
* Sequential Circuits Prophet-5
* Yamaha CP-70 grand piano

**Drum machines**:

* pAiA Programmable Drum Set ("Games Without Frontiers" , "Biko")
* Roland CR-78 CompuRhythm (majority of "Games Without Frontiers")

**Miscellaneous**:

* Roland Jazz Chorus JC-120 - used for CP-70 electric piano

Sources: Hugh Padgham Produce Like A Pro interview (CP70 and JC-120), various

## Larry Fast (synths)

* 360 systems frequency shifter
* Fairlight CMI Series I
* Moog Model 15 modular
* Moog Polymoog 203a - not much
* Oberheim DS-2 digital sequencer
* Oberheim MS-1 minisequencers
* self-built synth modules
* Sequential Circuits Prophet-5

## Tony Levin (bass)

**Basses**:

* Chapman Stick ("I Don't Remember")

Source: Album credits

## John Giblin

* Fender Jazz bass (60s, sunburst, fretless?)
* 1958 Fender Precision
* 1978 Wal Pro II bass natural

Source: Larry Fast photos

## David Rhodes (guitar)

**Guitars**:

* 1963 Fender Jazzmaster
* Ovation acoustic ("Intruder")

**Amplifiers**:

* Roland JC-120

**Effects**:

* Eurotec Black Box distortion ("No Self Control")

Source: *Guitar Player*, September 1987

## Phil Collins (drums)

Drums:

* Premier 717 Elite Black custom kit

Source: *International Musician And Recording World*, March 1985

## Dave Gregory (additional guitar)

* 1963 Fender Stratocaster
* '69-70 Fender Tremolux amp

Source: *Sound International*, November 1980

## Paul Weller (additional guitar)

* Rickenbacker 330 12-string guitar
* Marshall 100-watt amp head
* Marshall 4x12 cabinets

Source: various photos from late 1970s, Sound On Sound
Moog String Filter

Mike Rutherford used the **Moog String Filter** on the Moog Taurus I pedals in the studio on *Abacab*, to control the sound, in addition to an MXR digital delay and harmonizer.

Live, he used the String filter on the *Three Sides Live* tour (a.k.a. Encore tour) in 1982.

## References

* *Genesis Information* Issue 27 (page 16)
* Photo from 1982 Three Sides Live tour - incorrectly dated 1985
Genesis The Lamb Lies Down On Broadway equipment

Also includes some of the rehearsal equipment at Headley Grange

**Drums (Gretsch)**:

* 20" x 15" bass drum
* 12" x 8" tom
* 13" x 9" tom
* 14" x 14" tom
* 16" x 16" tom
* Ludwig snare

**Cymbals**:

* Paiste

## Tony Banks

**Keyboards & synthesizers**:

* acoustic piano
* RMI Electra 368 electric piano

## Mike Rutherford

**Guitars/basses**:

* 12-string
* Micro Frets 6-string bass

**Effects & pedals**

* Marshall fuzz
* Mr Bassman bass pedals
* Schaller volume

**Misc.**

* Acoustic amp

### Sources

* Headley Grange rehearsal photo of Phil Collins playing around with Mike Rutherford's equipment

## Steve Hackett

**Guitars**:

* 1957 Gibson Les Paul

**Amps**:

* HH 100-watt

**Effects**:

* Maestro Echoplex
* Effects board:
	+ Colorsound Octivider
	+ Dunlop Cry Baby wah pedal
	+ Marshall Supa Fuzz
	+ MXR M-101 Phase 90
	+ Schaller volume
	+ Shaftesbury Duofuzz

### References

* Headley Grange photo with Steve Hackett's pedalboard in view
* Steve Hackett Equipment List

## Studio equipment

**Microphones**:

* Shure (guitars)
* Neumann U47 (vocals)

**Mobile equipment**

* 3M 24-track tape machine (x2)
* Studer B67 stereo tape machines
* Helios 30-input desk
* Altec monitors

## References (common for all)

* Classic Tracks: Genesis’ “The Lamb Lies Down on Broadway”
Shure SM57

The **Shure SM57** is a microphone used by Peter Gabriel for vocals.

Peter Gabriel first used the Shure SM57 for all the vocals on the *Security* album. Producer David Lord liked recording Peter ‘live’ with an SM57 in the control room, "rather than all the pressures of being in front of a (big and expensive) [Neumann] U47 microphone!"

Soon the SM57 became Peter's preferred vocal mic. Peter continued to use the SM57 during early stages of the *So* album. But a blindfold test was done with Peter, and he seemed to prefer the Neumann U47.

## References

* Peter Gabriel South Bank Show Special 31.10.82
* Sound On Sound Classic Tracks: Peter Gabriel's Sledgehammer
* David Lord interview
Yamaha TRB-4P

The **Yamaha TRB-4P** black bass was played by both Daryl Stuermer and Mike Rutherford.

## Daryl Stuermer's Yamaha TRB-4P

Daryl Stuermer played the **Yamaha TRB-4P** bass on the *We Can't Dance* tour from 1992 to 1993, plus on solo albums *Another Side of Genesis* and *Waiting In The Wings*.

This very bass was auctioned off on Reverb.com in 2020.

### References

* *Guitarist*, January 1993
* Daryl Stuermer's Yamaha TRB-4P on reverb.com auction website

## Mike Rutherford's Yamaha TRB-4P

Mike had this bass both on its own and as part of the Gibson EDS-1275/Yamaha TRB-4P double neck. He had used both on the *Last Domino* Genesis reunion tour; the individual **TRB-4P** was played on a few of the Steve Hackett-era songs (1971-77) on which Daryl Stuermer takes over the guitar parts, including the opening number "Duke's End".

It is worth noting that on the TRB-4P half of the double neck, the headstock has 'CCGX' printed on it, for Charlie Chandler's Guitar Experience (the luthier who put the double neck together).

Mike Rutherford first got hold of a new TRB-4P for the *We Can't Dance* tour in 1992, following the lead of Daryl Stuermer; he heard him play the bass, and felt that it sounded good, that he decided to get one.

Daryl Stuermer in fact plays Mike's TRB-4P on "Follow You, Follow Me" on the *Last Domino* tour, though for most of the songs he played bass on he preferred the Lakland custom bass. His own TRB-4P had already been auctioned off on Reverb.

### References

* Various photos from 2021
* Genesis "Follow You Follow Me" live in Birmingham
* *Guitarist*, February 1993
* Photo of double neck (see page)
Premier 717 Elite Black custom kit

The **Premier B717** black kit was Phil Collins' main studio kit, which he had from 1976, with single-headed toms. It was this very kit that Phil played on "In The Air Tonight" and "Intruder", both of which made use of the gated reverb effect.

Besides the studio, the Premier black kit was used live on the *Wind And Wuthering* (1977) and *Abacab* (1981) tours.

The 1977 configuration of this kit included 10" and 12" Remo Rototoms.

## Setup

**Drums**:

* Gretsch 20" bass drum (repainted black)
* 8" rack tom
* 10" rack tom
* 12" rack tom
* 15" rack tom
* 16" floor tom
* 18" floor tom

**Hardware**:

* Premier

**Drum heads**:

* Remo Weather King Ambassador clear drum heads (toms)

## Albums used

**With Genesis**:

* *Wind & Wuthering* (1976)
* *...And Then There Were Three* (1978)
* *Duke* (1980)
* *Abacab* (1981)

**Solo**:

* *Face Value* (1981)
* *Hello, I Must Be Going* (1982)
* *No Jacket Required* (1985)

## References

* *International Musician & Recording World*, March 1985
* 1977c Premier Custom 717/D717 Elite Concert Tom Phil Collins Replica Drum Set.
* Photo of Phil Collins at his Premier black kit from 1981 rehearsals
Zildjian cymbals

Phil Collins and Chester Thompson were former users of Avedis Zildjian (or simply Zildjian) cymbals.

## Phil Collins and Zildjian

Beginning around 1975, while he was a Paiste endorsee, Collins began to incorporate a few Zildjian cymbals into his kit setup. But then his array of Zildjian cymbals grew, the Zildjians constituting the majority of his cymbal setup into the late 70s/early 80s (all of which were Zildjians with Brilliant finish), while he was endorsing both Zildjian and Paiste. It was around the time of *Abacab* in 1981 that he had completely changed over to Zildjian.

By 1982, it's worth noting that a few Sabian cymbals (supposedly) started to emerge in his cymbal setup for the *Three Sides Live tour* (a.k.a *Encore tour*), although it remained predominantly Zildjian. In the mid-1980s, however, Phil switched over to Sabian as an endorsee, preferring their cymbals instead. On the *Invisible Tour*, his cymbals were Sabian, with the addition of a Zildjian chinese cymbal.

### References

* Various
* Photo from Invisible Touch tour

## Chester Thompson and Zildjian

Chester Thompson used Zildjians before switching over to Paiste cymbals
Gretsch USA Custom Piano Black Nitron kit

The **Gretsch USA Custom Piano Black Nitron kit** is a drum kit used by Phil Collins.

He played this kit between 1989 and 2007, both on tour and in the studio. He used it for solo work and work with Genesis.

The tours this kit had been on included:

* *But Seriously* tour (1989-90)
* Genesis *We Can't Dance* tour (1992-93)
* *Both Sides* tour (1994-95)
* *Trip Into The Light* tour (1997)
* *Finally the first Farewell Tour* (2004)
* Genesis *Turn It On Again: The Tour* (2007)

## Drums

* 20" x 14" kick drum
* 8" x 5 1/2" rack tom
* 10" x 6 1/2" rack tom
* 12" x 8" rack tom
* 15" x 12" rack tom
* 16" x 16" floor tom
* 18" x 18" floor tom

## References

* Official Gretsch forums
* Various
MXR M-101 Phase 90

The **MXR Phase 90** was a phaser pedal used by Steve Hackett. He had this and an MXR Phase 100.

The Phase 90 was embedded in Hackett's Pete Cornish custom-built effects board, which he used with Genesis throughout the *Selling England By The Pound* and *The Lamb Lies Down On Broadway* eras. The version of the Phase 90 used by Hackett was the 1973/74 variant, a lot like the version now manufactured as the **CSP-026 '74 vintage script Phase 90**.

## Quotes

Steve Hackett on the beginnings of his association and affinity with the MXR Phase 90:

> "It was after the gig and we were relaxing at the back of the stadium. A guy I'd never met before came up to me and said he had something he wanted me to try. I was a little dubious to say the least. And from his bag he produced a strange little orange box. It was an **MXR Phase 90**. Up till that moment I wasn't overly sold on phasers. But fifteen minutes with the Phase 90 convinced me that phasers had come a long way since 'Itchycoo Park'."
>
>

> "I particularly love [MXR phasers] for chords and arpeggio work. And on the single-line stuff [melodies]they give a lovely, delicate weaving sound to the notes. But their biggest feature - apart from their basic compactness and reliability - is the variable controls on speed. Wind them up to fast effect and they sound exactly like a rotary [speaker]."
>
>

## References

* *Melody Maker*, 15 May 1976 Steve Hackett MXR advert
* various
Mellotron M400

Tony Banks had a **Mellotron M400**, which replaced the Mellotron Mk. II. He reportedly started using the Mellotron on *Selling England By The Pound*.

Tapes used for the Mellotron were strings, brass and choir ones. By the time of the *..And Then There Were Three*, the bass one was only needed for the "Supper's Ready" encore.

He used to occasionally run the Mellotron through a Leslie speaker to give the "Leslie effect". Apart from that he also used a Parametric Equalizer on the Mellotron, plus the Echoplex - these helped add another dimension to the sound. By the time of *Wind & Wuthering* the Echoplex was substituted with the Roland RE-201 Space Echo.

The Mellotron used on the *...And Then There Were Three* tour was a European one, featuring modifications made by Sound Sales, the new owners of Mellotronics. The other Mellotron, used on the *Wind And Wuthering* tour, was an American one that was literally falling to pieces; so Banks lost interest in it even after modifications had been done to it.

By the time of *Duke*, the Mellotron was replaced by the Roland VP-330 Vocoder Plus.

## References

* *Contemporary Keyboard*, October 1976
* *Contemporary Keyboard*, July 1978
* Tony Banks Keyboard rigs
Pearl DLX kit

This kit was played by Phil Collins from 1982 to 1983.

## Gear history

Phil Collins first received the Pearl DLX kit (a birch one) in July 1982, and used it for the *Three Sides Live* tour with Genesis shortly afterwards (which commenced on August 1 the same year). Phil had also used the Pearl for the *Hello, I Must Be Going* solo tour from November 1982 to February 1983. He described it as the best live kit for "In The Air Tonight".

In the studio, he recorded with the Pearl kit for *Genesis* (1983) and Robert Plant's *Principle of Moments*.

However, it was eventually swapped with a Gretsch kit for Robert Plant's August American tour in 1983.

In December 2009, the kit was given away to fan Graham Collins (no relation), and is reportedly the only kit Phil had ever let go of.

It is worth noting that the toms originally had Premier mounts, which were later swapped for Gretsch mounting blocks. Besides hardware (see kit setup), the kit is 100% original. All toms are single-headed.

## Kit setup

**Drums** - lacquered birch finish:

* 20 x 14" Bass Drum
* 8 x 5.5" Concert Tom
* 10 x 6.5" Concert Tom
* 12 x 8" Concert Tom
* 15 x 12" Concert Tom
* 16 x 14.5" Concert Tom
* 18 x 16" Concert Tom
* 14 x 8" Snare Drum

**Hardware**:

* Ludwig Speed King Bass Drum Pedal
* Slingerland Dynamo Hi-Hat
* Premier Trilok Double Tom Stands
* Premier Tom Mounting Blocks
* Premier Lokfast Snare Stand
* Premier Stool

**Drum heads**:

* Remo Weather King Clear Diplomat (High toms)
* Remo Weather King Clear Ambassador (Low toms)
* Remo Weather King Coated Emperor (Snare)
* Ludwig coated (Bass drum batter)

## References

* Vintage drum gear: Phil Collins' Pearl DLX kit on MusicRadar
* Pearl BLX Custom Birch Kit - Ex Phil Collins
Peter Gabriel solo albums & projects

This page contains links to equipment pages for the following Peter Gabriel albums:

* *Peter Gabriel* (1977) (a.k.a. "Car")
* *Peter Gabriel* (1978) (a.k.a. "Scratch")
* *Peter Gabriel* (1980) (a.k.a. "Melt")
* *Peter Gabriel* (a.k.a. Security) (1982)
* *So* (1986)
* *Passion* (soundtrack) (1989)
* *Us* (1992)
* *Up* (2003)
Roland D-50

The **Roland D-50** was a synthesizer introduced in 1987 and notably used by the likes of artists such as Prince, Michael Jackson, Sting and George Michael to name a few. It had also been used by both Phil Collins, Tony Banks and Peter Gabriel during their respective solo careers.

## Phil Collins' Roland D-50

Phil Collins had a Roland D-50 synth from the late 1980s through to the mid-1990s. He recorded with it mainly on *...But Seriously* and *Both Sides* albums. Like with other synthesizers he had, he tended to use preset sounds from D-50. For example, the intro to "Another Day In Paradise" uses a patch similar to the unknown "Phaedra" patch on the D-50, and supposedly for the main hook it's a combination of the "Metallic Lead" and "Ethnic Session" patches.

### References

* Roland D-50 examples
* Exploring the Roland D-50
* *Home & Studio Recording*, 1993

## Tony Banks' Roland D-50

Tony Banks had a Roland D-50, which he used on his *Bankstatement* album in 1989, sticking to preset sounds with a bit of tweaking here and there. Appearances of the D-50 on the album include "Big Man", "House Needs A Roof" and "Diamond's Aren't So Hard".

### Tony Banks quotes on the D-50

> "I also use the D50 - it has lots of beautiful sounds which can be accessed without editing."
>
>

> "The legato phrase which comes towards the end of ["Diamonds Aren't So Hard" from *Bankstatement*] is a D50 sound. I like that instrument for producing ethereal sounds which give a lot of height to a track. The problem with the D50 is that a lot of the sounds are already well known, but it's nice as a background instrument."
>
>

## Peter Gabriel's Roland D-50

Peter Gabriel had used a Roland D-50 on the *Passion* soundtrack and the *Us* album. For the latter album, he tended to play left-handed bass parts on the D-50 while recording.

### References

* *Passion* album credits
* *Sound On Sound*, November 1992
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источник
Phil Collins Face Value equipment

## Phil Collins

* Premier 717 Elite Black custom kit
* Zildjian/Paiste cymbals
* Roland CR-78 CompuRhythm
* 1820 Collard & Collard 6' grand piano
* Fender Rhodes Stage 73 electric piano
* Sequential Circuits Prophet-5 synth
* Roland VP-330 Vocoder Plus synth

## John Giblin

* 1958 Fender Precision bass

Vocals:

* Beyerdynamic M88

## References

* Classic Tracks: Phil Collins' In The Air Tonight
* Produce Like a Pro discusses "In The Air Tonight"
* *Recording Engineer/Producer*, June 1990 (mic information)
* *Studio Sound*, March 1984
* *Recording Musician*, October 1992
* *Behind The Boards: The Making of Rock 'N' Roll's Greatest Records Revealed* (2012) by Jake Brown