recursal/Fanatic-Fandom huggingface dataset:
Mesa/Boogie Mk. IIC

Andy Summers used a pair of **Mesa/Boogie Mk. IIC** black combo amps for the ***Synchronicity*** tour. He had them for guitar solos.

## References

* *I'll Be Watching You: Inside The Police 1980-83* photo book by Andy Summers
* Andy Summers Reflects on His Years with (and Before) the Police and His Most Trusted Guitars (Guitar World)
Toriel

## Toriel Dreamer

Toriel is the queen or used to be the queen of the Underground and wife of King Asgore but ever since there two children had died, Asgore started to change and made a new rule were ANY human that has fallen down they will die. With this new rule Toriel was disgusted of his actions and devoice him. She now lives in the Ruins, when any human would fall down she would take care of them but all of them would ask her \*Can I leave the Ruins\* after every child that has left the Ruins, they died from Asgore or Undnye. Lost in grief that the children had died she was very sad but one day there was a knock on the door it seemed to be another monster, this monster would play his knock knock jokes and she would play along with it. When the sisters fell down Toriel was very surprised she has not seen two humans fall down before she would take care of the sister for a while but the faithful day came. Frisk ask Toriel \*How do we leave the Ruins\* Chara would ask the same question. Toriel was upset by this and was going to destroy the door leading out of the Ruins, the sister would fight Toriel and win but not hurting her but giving her kindness and mercy after the fight she hugged the sister and said \*Please can you keep a promise?..Don't come back please..\* and she went back upstairs. But when the sister first met her she saved them from flowey which he was about to kill both of them.

## Toriel Dreamer

### Relatives

Asgore(Divorced Husband) Kate(Daughter) Asriel(Son)

## Background

Toriel is the divorced wife of Asgore Dreamer, she once was the queen of the Underground but every since they were divorced no one has ever saw her again, she hid in the ruins for many years but she knew what Asgore was doing and it made her really sad until the sister fell down but the faithful day came and the sister asked if they could leave the Ruins. This made Toriel remember all the things Asgore has done and tried to stop the sister but this didn't work out in the end.
Klark Teknik DN22 Graphic Equaliser

Sting had frequently used a Klark Teknik DN22 graphic equaliser for live performances with The Police, between 1980 and 1984.

It was part of his arsenal for the *Zenyatta Mondatta*, *Ghost In The Machine* and *Synchronicity* tours with The Police, among the rack and amplification units offstage.

## References

* *Musician*, June 1983
* Various photos
Sting Basses

## With The Police

* 1962 Fender Jazz
* 1963 Fender Precision standard sunburst - borrowed from Andy Summers in Summer 1981
* 1978 Fender Precision fretless (1978-81)
* Hamer custom basses
* Henk Van Zalinge Z-bass (1980-84)
* Ibanez Musician basses (1979-81)
* Spector NS-2 white (1983-84)
* Steinberger L2 Black (1982-83)

## 1987

* 1962 Fender Jazz
* Fender Precision

## early 1990s

* Ibanez Roadstar II fretless
* Fender Precision /w Modulus neck
* 1957 Fender Precision
Jacobacci Studio II

The **Jacobacci Studio II** was Henri Padovani's main guitar during his tenure with The Police, from January to August 1977. It looks like a 1972 model.

He recorded the solo on "Fall Out" using the Jacobacci - the rhythm parts were played by Stewart on his Gibson SG.

## References

* Various photos
* *Secret Police Man* autobiography
Reggatta De Blanc tour equipment

*This page is incomplete*

## Sting

**Basses**:

* Ibanez Musician MC-900DS (modified to fretless)
* Ibanez Musician MC-940NS natural custom - received February 1980
* Ibanez Musician MC980 8-string fretless - received February 1980

**Amplifiers**:

* Ampeg SVT heads (x3)
* Ampeg SVT-810E cabinets (x3)

**Effects & pedals**

* Moog Taurus I
* Moog Minimoog Model D - circa. February 1980 onwards
* MXR M-101 Phase 90

## Andy Summers

**Guitars**:

* 1963 Fender Telecaster custom
* Hamer Sunburst Cherry

**Amplifiers**:

* Marshall 100-watt amp heads
* Marshall 4x12 cabinets

**Effects**:

* DeArmond 610 Volume Tone pedal
* Pete Cornish custom FX board
* Schaller F 121 Fusschweller Foot Volume Controller pedal

## Stewart Copeland

**Drums**:

* TAMA Octobans (70s model Royalstar lugs)
* TAMA Imperialstar Jet Black kit - UK & Europe concerts
* TAMA Superstar Super Mahogany - USA concerts

**Cymbals (Zildjian)**:

**Drum Heads**:

* Remo CS (Octobans)

**Effects & electronics**:

* Roland Chorus Echo RE-301
* TAMA DS-200 drum synthesizer

**Miscellaneous**:

* Remo Rototom
* unknown mixer

## References

* The Police Countdown concert 1979
* Various photos
Aliza After Core

🖂︎🕈︎☟︎✡︎ 🕈︎☟︎✡︎ 🕈︎☟︎✡︎ 🕈︎☟︎✡︎📬︎📬︎☟︎⚐︎🕈︎ ✌︎☠︎👎︎ 🕈︎☟︎✡︎ 👎︎✋︎👎︎ ✋︎❄︎ ☝︎⚐︎ 🕈︎☼︎⚐︎☠︎☝︎✍︎✍︎📬︎📬︎✋︎❄︎ 🕈︎✌︎💧︎ ✌︎☹︎☹︎ 🏱︎☹︎✌︎☠︎☠︎☜︎👎︎ ☝︎✌︎💧︎❄︎☜︎☼︎ 💧︎☟︎⚐︎🕆︎☹︎👎︎ ☟︎✌︎✞︎☜︎ 👌︎☜︎☜︎☠︎ ☼︎✋︎☝︎☟︎❄︎✏︎✏︎📬︎📬︎☝︎✌︎💧︎❄︎☜︎☼︎ 🕈︎✌︎💧︎ ☠︎☜︎✞︎☜︎☼︎ 🕈︎☼︎⚐︎☠︎☝︎📬︎📬︎📬︎🕈︎📫︎🕈︎📫︎☟︎✡︎📬︎📬︎✋︎💣︎📬︎📬︎👎︎☜︎✌︎👎︎📬︎📬︎☠︎⚐︎✏︎✏︎✏︎ ✋︎ 👍︎✌︎☠︎🕯︎❄︎ ☜︎✞︎☜︎☠︎ 💧︎☜︎☜︎ 💣︎✡︎ ❄︎🕈︎⚐︎ 👌︎✌︎👌︎✡︎ 👌︎⚐︎✡︎💧︎ ☝︎☼︎⚐︎🕈︎ 🕆︎🏱︎✏︎✏︎📬︎📬︎📬︎☝︎✌︎💧︎❄︎☜︎☼︎📬︎📬︎🏱︎☹︎☜︎✌︎💧︎☜︎ ❄︎✌︎😐︎☜︎ ☝︎⚐︎⚐︎👎︎ 👍︎✌︎☼︎☜︎ ⚐︎☞︎ ❄︎☟︎☜︎💣︎📬︎📬︎✋︎ ☹︎⚐︎✞︎☜︎ ✡︎⚐︎🕆︎📬︎📬︎

## ✌︎☹︎✋︎☪︎✌︎

### Relatives

G\_s\_ter(Husband) A\_n\_\_ony(Son) Papy\_u\_(Son)

## Physical description

### Eye color

RED

Background

✋︎ ☺︎🕆︎💧︎❄︎ 🕈︎✌︎☠︎❄︎ ❄︎⚐︎ 💧︎☜︎☜︎ ❄︎☟︎☜︎💣︎ ✌︎☝︎✌︎✋︎☠︎📬︎📬︎☺︎🕆︎💧︎❄︎📬︎📬︎💣︎✡︎ ☞︎✌︎💣︎✋︎☹︎✡︎📬︎📬︎✋︎📬︎☠︎☜︎☜︎👎︎📬︎❄︎⚐︎📬︎💧︎☜︎☜︎📬︎❄︎☟︎☜︎💣︎📬︎✌︎☝︎✌︎✋︎☠︎📬︎📬︎✋︎ ☠︎☜︎☜︎👎︎ ❄︎⚐︎ ☝︎☜︎❄︎ ⚐︎🕆︎❄︎ ⚐︎☞︎ ☟︎☜︎☼︎☜︎ ✌︎☠︎👎︎ 👌︎☜︎ ✌︎☹︎✋︎✞︎☜︎ ✌︎☝︎✌︎✋︎☠︎📬︎📬︎👌︎🕆︎❄︎ ❄︎☟︎✋︎💧︎ ✋︎💧︎ ❄︎☟︎☜︎ ✞︎⚐︎✋︎👎︎📬︎📬︎⚐︎☼︎ 👎︎☜︎✌︎❄︎☟︎✍︎📬︎📬︎✋︎ ☠︎☜︎☜︎👎︎ ❄︎⚐︎ ☞︎✋︎☠︎👎︎ ✌︎ 🕈︎✌︎✡︎ ⚐︎🕆︎❄︎
TAMA Imperialstar Jet Black kit

The TAMA Imperialstar Jet Black was used by Stewart Copeland in The Police.

This kit was most likely the one acquired by Stewart Copeland on 15 June 1979 from Summerfield's music dealer, and its first appeared in the "Can't Stand Losing You" music video (shot two days later).

He brought this kit to Surrey Sound in the Summer of 1979 to record the ***Reggatta De Blanc*** album. Stewart also toured with the kit in promotion of the album. However, it appears that he only used the for the UK & Europe concerts while the TAMA Superstar Super Mahogany kit was for US concerts.

The black Imperialstar kit's last known live appearance was the Rockpalast TV concert on 11 January 1980. He later switched over to the TAMA Imperialstar Midnight Blue 5-ply kit.

## References

* The PoliceWiki
* Various photos & videos
TEAC 144 Portastudio

The **TEAC 144 Tascam Series Portastudio** was a 4-track cassette multitrack recorder introduced in 1979 by TEAC. Each member of The Police had owned a Portastudio each, primarily for demoing purposes.

## Sting's TEAC 144 Portastudio

The Portastudio enabled Sting to write/demo ideas on the go. He used the Portastudio to write/demo songs for albums ***Zenyatta Mondatta***, ***Ghost In The Machine*** and ***Synchronicity*** albums, alongside solo work in the mid 80s. He also had a TEAC A-3340S 4-track.

Sting later gave the Portastudio to ex-Last Exit bandmate Gerry Richardson. Richardson is due to put the Portastudio up for auction on February 2022.

### References

* various
* *Police Confidential* by Danny Quatrochi (pg. 102)
* Sting's cassette machine to go on sale in Newcastle on Chroniclelive.com

## Andy Summers' TEAC 144 Portastudio

Andy Summers had demoed potential material for *Zenyatta Mondatta* and *Ghost In The Machine* using the TEAC 144 Portastudio, part of his Ireland setup alongside a TEAC 8-track. He later upgraded to the newer TEAC 244 Portastudio for *Synchronicity*.

### References

* *The Police:1979-1981* by Didi Zill (pg. 45 - Portastudio covered by rags in photo)
* *Melody Maker*, May 2 1981 (Musicians' World)

## Stewart Copeland's TEAC 144 Portastudio

Stewart Copeland used the Portastudio on several tours from 1980 to 1982, to satisfy his need to function creatively while on the road: “I don’t know the names of any chords or anything so I can’t write them down, I’ve got to record things. That’s the only real way to get the *feel* down, anyway.”

On the road, it was replaced by the Fostex X-15 on the *Synchronicity* tour.

### References

* *Sounds*, 23 February 1980
* Ghost In The Machine tour program
* Erica Echenberg photo of Stewart's home studio - Portastudio seen on top of racks, next to Simmons SDS-V module

## External Links

* 40 years of the four-track, as the Portastudio powers on

[[Category:Writing & demoing equipment (Andy Summers)
Allen & Heath Syncon A

The **Allen & Heath Syncon A** was a 28-channel mixing desk. It was owned by Stewart Copeland.

Stewart had the console as early as 1980 around the time of *Zenyatta Mondatta*, using it for any home recordings. It remained as his console when the Worried Rabbit was established in 1983, and he had mixed down the *Rumblefish* soundtrack using this console.

Stanard Ridgway obtained the Allen & Heath console from Stewart Copeland in the mid-1980s, recording the hit single "Camouflage" on it. Stewart Copeland, meanwhile, replaced it with a 40-channel Harrison console.

## References

* *Musicians Only*, 18 October 1980
* *Home & Studio Recording*, December 1983
* *International Musician & Recording World*, October 1986 (Track Record: Stanard Ridgway)
* STAN RIDGWAY THE MuSIC IS THE MoVIE (mixonline)
Surrey Sound Studios

**Surrey Sound Studios** was a recording studio located in Leatherhead, Surrey. It was founded by engineer & producer Nigel Gray (1947-2016).

Nigel Gray had engineered and produced The Police's first two albums there (*Outlandos D'Amour* and *Reggatta De Blanc*). Plus Stewart Copeland's Klark Kent records - his first experience of recording at Surrey Sound Studios was the "Don't Care" single.

The studio started as a 4-track studio in 1975. By late 1976, they had upgraded to 16-track and was mainly a demoing studio by then. It wasn't until June 1978 that the studio upgraded to 24-track, using mainly MCI equipment.

In 1987, Nigel Gray had sold Surrey Sound to a new owner.

## Equipment (early 1978)

* Alice 20-input/16-output desk
* Audio & Design (Recording) compressors/limiters/expanders/noise gates/ADT
* Dbx compressors
* EMT stereo plate
* Ampex AG440 2- and 4-track
* Ampex MM-1000 16-track
* Master Room reverb
* Tannoy Reds
* Broadwood grand piano

Source: Surrey Sound 1978 advert

## Equipment (June 1978-79)

### Microphones

* AKG
* Beyerdynamic
* Neumann
* Shure

(see *Outlandos D'Amour* and *Reggatta De Blanc* pages for microphone setups on The Police albums)

### Outboard gear

* AMS DMX 15-80 digital delay/harmonizer
* dbx 162 stereo compressor
* dbx noise reduction
* Audio & Design (Recording) Ltd. Express limiter(?)
* Audio & Design (Recording) Ltd. SCAMP modules:
	+ S01 Compressor/Limiter
	+ F300 Expander Noise Gate(s)
	+ P200 Phaser(s)
	+ S24 ADT flanger(s)
	+ S100 Dual Gates?
* Rebis RA402 parametric EQ

### Tape machines

* Revox A77 Mk. III
* MCI JH-24 2" 24-track
* Studer 2-track

### Mixing desk

* MCI JH-400B 28-input console /w automation

### Monitors and other equipment

* Electrovoice Sentry III or Tannoy Reds
* Broadwood Grand Piano

### Sources

* *Studio Sound, August 1979* (page 29 of PDF)
* *Studio Sound*, November 1984
* *Music Week*, 10 June 1978 (page 24)
* Chris Gray
Paiste Percussion rack

For the ***Synchronicity*** album and tour, Stewart had a **Paiste Percussion rack** (now long discontinued) with a series of gong cymbals, wooden blocks, rotosound etc. On the album he probably used it the most on "Mother".

Andy Summers and Sting had a percussion racks like the Paiste to decorate their living rooms.

## References

* *Police Confidential* photo book by Danny Quatrochi (p. 124)
* *I'll Be Watching You* photo book by Andy Summers
* various
1957 Gibson Les Paul Goldtop

Andy Summers had a **Gibson Les Paul Gold top** in the early 80s. He recorded with the Les Paul on the ***Ghost In The Machine*** and ***Synchronicity*** albums. For example, it can be heard on "Synchronicity II" among the guitars throughout.

## Quotes on the Gibson Les Paul Goldtop

> “I sold the original for a great deal of money because Gibson gave me another Goldtop that was even better than the 57! It’s all mythology: sometimes old guitars are great but not always. When I realised the new Custom Shop Goldtop was the better guitar, I thought, ‘Fuck!’ and switched over."
>
>

## References

* Various photos
* *One Two Testing*, December 1983 ("Synchronicity II")
* Andy Summers' career in gear: "It’s all mythology: sometimes old guitars are great but not always"
Studer A80 16-track

From around 1981 to 1982, Andy Summers owned a Studer A80 16-track tape machine, which he used at his home studio for recording demos. He later sold it, instead preferring to use the Portastudio for demoing.

Having expensive recording equipment did not sit well with his approach to writing and demoing songs, which was making rough versions at home and then recording demos at a proper studio.

## Quotes

> "I used to have a whole studio at home, a [Studer] 16-track recorder and desk, a remote and everything. But what I found with that lifestyle and limited amount of time I have, I didn't want to take that much time for the *process* of creating music... All I want to think about is the music and not the recording itself, which is why I sold all the 16-track stuff. I learned the hard way - it cost me a lot of money." (*Musician*, June 1983)
>
>

## References

* *International Musician And Recording World*, September 1982 - refers to "Studers" (as in Studer tape recorders)
* *Musician*, June 1983
Hamer Standard

Andy Summers owned a **Hamer Standard**. It appears in videos for "Can't Stand Losing You" and "Message In A Bottle", and was possibly used live on a few occasions in mid-1979. Otherwise it didn't see much use by Andy as he seemed to prefer the Fender Telecaster. Possibly the 1978 model was used.

## References

* The Police - Can't Stand Losing You - Hamer Standard first seen at the 0:21 mark
* The Police - Message In A Bottle - Hamer seen at 0:30 mark
Stewart Copeland Drums

## With The Police

* TAMA 14" x 22" Gong Drum
* TAMA Octobans
* TAMA Imperialstar Light Blue drum kit (1977-79)
* TAMA Imperialstar Midnight Blue 5-ply kit (1981-84)
* TAMA Superstar Super Mahogany (1979-80)
* TAMA Imperialstar Jet Black kit (1979-80)

Snares were Pearl: one with chrome-over-brass and one with chrome-over-steel.

Initially it was mainly a TAMA Imperialstar King Beat 5" x 14" Snare.

To trigger effects: REMO 8" Rototom
Danelectro Longhorn Guitarlin

A photo from the *Ghost In The Machine* sessions on Montserrat in 1981 shows Andy playing a **Danelectro Longhorn Guitarlin** guitar.

The guitar looks like one with a Copper Burst finish, but with a big pickup down the middle (possibly a Bartolini) rather than the usual SS pickup system.
It isn't mentioned in any interviews from around the time of the album, so it is unclear if the guitar appears on the album to any extent. And it's unknown whether this guitar belonged to Andy or if it was a rental/borrowed guitar or if it had belonged to the studio.
Marantz 1040 Stereo Amplifier

The **Marantz 1040 Stereo Amplifier** is a solid-state console stereo amplifier from the late 1970s.

As per his diary entries from that period, Stewart Copeland had acquired a Marantz 1040 amplifier on 22 September 1978 along with some speakers for his home studio setup. It is seen in a Lynn Goldsmith photo from around July 1979 and on the front cover of the December 1983 issue of *Home & Studio Recording* magazine.

## References

* The PoliceWiki
* *Home & Studio Recording*, December 1983 (cover)
* various
Sting The Dream Of The Blue Turtles equipment

**The Dream Of The Blue Turtles** was Sting's debut solo album, released in June 1985.

This album was a considerable departure from what he did with The Police on their albums; he had auditioned and put together a group of jazz musicians for the album, and for the most part of 1984 composed songs with the new Synclavier. Recording (and partial mixing) took place at Eddy Grant's Blue Wave Studio in Barbados, and finishing touches were made at Le Studio, Morin Heights.

## Sting

**Guitars**:

* 1961 Fender Telecaster
* 1978 Fender Stratocaster (black)

**Other**:

* Henk Van Zalinge Z-bass ("Moon Over Bourbon Street")
* Linn LinnDrum ("We Work The Black Seam")
* New England Digital Synclavier System

## Kenny Kirkland

* Oberheim OB-8
* Roland Jupiter-8
* Yamaha DX7
* Yamaha CP-70 electric grand piano

## Omar Hakim

* Yamaha Recording Series kit
* Zildjian cymbals

## Studio equipment

* SSL 4000E mixing console (Blue Wave & Le Studio)
1954 Fender Stratocaster

## Gear information

This guitar - known as a Natural Stratocaster - was one Andy had as a backup with him on various Police tours, secondary to the 1961 Fender Stratocaster. Appearances of the 1954 Stratocaster include the "Walking On The Moon" and "Don't Stand So Close To Me" music videos.

Andy is seen with the 1954 Strat in footage from the *Zenyatta Mondatta* sessions where he and Sting play "De Do Do Do, De Da Da Da" together in the studio - it's possible the guitar was played on the album to some degree.

When Andy Summers initially bought the guitar, the finish had been completely scraped off by its previous owner and for many years it remained a "boring-looking brown guitar" in Andy's own words - so it didn't have a Natural finish applied to begin with. In 2019, Andy Summers had the guitar refinished into a Sunburst. He likened it to "a brand new but perfectly-aged instrument".

## References

* Andy Summers' career in gear: "It’s all mythology: sometimes old guitars are great but not always"
* *Everyone Stares* (2006) - Zenyatta session footage
Pathway Studios

**Pathway Studios** was an 8-track recording studio in London.

The Police had recorded their first single "Fall Out" at this studio in February 1977, when Henry Padovani was a member of the band. They had also cut "Visions Of The Night" and an early version of "Dead End Job" with producer John Cale, and those were intended for a single which was scrapped.
Outlandos D'Amour equipment

**Outlandos D'Amour** is The Police's debut album, released in November 1978 on A&M record label.

It was engineered by Nigel Gray and Chris Gray, and recorded at Surrey Sound Studios in Leatherhead over the course of at least six months - sporadically between January and September 1978 as The PoliceWiki states. To save money and costs, the band would record at Surrey Sound whenever they could - i.e. during studio downtime or if an artist had cancelled their session.

Production-wise, like how most Police records would be done, the trio would record the basic tracks by doing live takes (with bass, drums, guitar and guide vocals), and would then record overdubs and proper vocals with a few harmonies.

To begin with, they were working with 16-track, sometimes re-recording over used tapes due to lack of money to afford new tape. In May/June 1978, Surrey Sound had upgraded to 24-track, with new MCI equipment - the rest of the Police songs recorded from that point onwards for the album were recorded on 24-track. But only equipment from before the upgrade is listed here.

## Sting

**Basses**:

* 1962 Fender Jazz

**Amps** - possibly the following:

* Marshall Super Bass 100-watt amp head (or Fender Dual Showman Reverb amp)
* Fender Dual Showman 2x15" cabinet

Sting's bass parts were recorded both direct and via the bass amp. The bass amp was recorded with a microphone going through the wall and into the amp (probably a PZM mic as per Chris Gray).

## Andy Summers

**Guitars**:

* 1963 Fender Telecaster custom
* 1956 Gibson Les Paul Junior ("Next To You" slide guitar solo)

**Amplifiers**:

* Ampeg amp
* Fender Twin Reverb

Guitar amps were miked (possibly) with two Electrovoice RE20s, and a Neumann U87 at least three feet away.

## Stewart Copeland

**Drums**:

* TAMA Imperialstar Light Blue drum kit
* TAMA Imperialstar King Beat 5" x 14" Snare

**Cymbals**:

* Zildjian

## Studio equipment

### Microphones

**Drums**:

* Kick:
	+ AKG D-12
* Snare:
	+ Beyer M260N or Neumann KM84
* Hi-hat:
	+ AKG C451E
* Overheads:
	+ AKG C451E (x2)

**Guitars**:

* Electrovoice RE-20 (x2, possibly)
* Neumann U87 - 3 ft. away from amps, ambience mic

### Other

More information on the Surrey Sound Studios page

**Outboard gear**:

* Audio & Design (Recording) SCAMP units
* EMT plate
* Rebis parametric EQ

**Tape machines**:

* Ampex MM1100 16-track
* Revox A77 Mk. III (x2)
* Studer 2-track

**Misc. studio equipment**:

* Alice 20/16 desk
* Broadwood
* Electrovoice Sentry III or Tannoy Reds monitors

## References

* *Behind The Boards II* by Jake Brown
* various
* Chris Gray
* Surrey Sound old magazine adverts
Sony CF-900S

The **Sony CF-900S** was a portable cassette recorder from the late 70s with a built-in preset drum machine and a 4-channel mixer. He had this for the writing of *Zenyatta Mondatta* and *Ghost In The Machine* (possibly previous Police albums as well).

Sting demonstrated how he wrote "Message In A Bottle" using this machine in an interview with Jools Holland featured in the *Police On Montserrat* documentary from 1981.

## References

* Sting interview with Jools Holland
* Didi Zill photos
Aria Pro II PE-1000

Andy Summers had owned an **Aria Pro II PE-1000** electric guitar in the late 70s.

He used this guitar on the ***Outlandos D'Amour*** tour, from Autumn 1978 to 1979. An Aria advert photo of Andy also appears on the back of the *Outlandos D’Amour* LP cover; but whether he had played it to any extent on the album itself is not clear.

The Aria played on the Old Grey Whistle test show in October 1978 appears to have black pickups whereas later photos show one with white pickups. Possibly the one with the white pickups might be an Aria PE-1500 (or 800), or it's just the PE-1000.

Back to Andy Summers equipment page

## Specifications

 Top
 Back
 Neck
 Fingerboard
 Machine head
 Pickup
 Finish
 Colour

Info from Aria Pro II 1978 PE Prototype Series Catalogue

## References

* Aria adverts
* Old Grey Whistle Test 2 October 1978
* *International Musician & Recording World*, July 1979
Stewart Copeland Rumble Fish OST equipment

## Musical gear

Stewart Copeland played most of the instruments on this record. He used the following:

**Drums**

* TAMA white kit (Tres Virgos sessions - loaner kit)
* Camco (?) drum set (Long Branch sessions - borrowed kit)
* TAMA 14" x 22" Gong Drum
* Pearl 5" x 14" Snare (B4514 Custom Deluxe Chrome-Over-Brass)
* TAMA Octobans

**Cymbals**:

* Paiste 602 and 2002 series

**Basses**:

* 1968 Fender Telecaster bass
* Henk Van Zalinge Z-bass

**Guitars**:

* 1978 Fender Stratocaster natural (?)

**Electronics & synthesizers**

* Oberheim DMX
* Oberheim OB-8
* Roland RS-505 Paraphonic
* Roland TB-303 bassline(?)
* Sequential Circuits Prophet-5(?)

**Misc.**:

* Typewriter
* Banjo

## Studio equipment

### Tulsa Long Branch Studio sessions

**Microphones**:

* Drums:
	+ Sennheiser MD421s (toms)
	+ other microphones to be determined
* Typewriter:
	+ Neumann U87

### Tres Virgos Studio sessions

#### Microphones

Drums:

* Kick
	+ AKG D-12
* Snare
	+ AKG 452 (top & bottom)
* Hi-hat
	+ AKG 452
* Toms
	+ AKG 452 (x1 on rack toms)
	+ Sennheiser MD421
* Overheads:
	+ AKG C414 EB (x2)
* Drum room:
	+ Neumann U87
* Other:
	+ Crown PZM (x4)

Xylophone:

* AKG C414 EB (x2)

Piano:

* Crown PZM (x2)
* Neumann U87

#### Tape machines

* MCI JH-24 2" 24-track
* Ampex ATR-100 2-track

#### Misc. studio equipment

* Baldwin 8.5' grand piano
* Auratone 5C monitors
* UREI 813 monitors

## Worried Rabbit (mixing)

* Otari MTR-90 24-track
* Sony PCM-F1
* Allen & Heath Syncon desk

## References

* Tres Virgos website photos from Rumblefish sessions
* The PoliceWiki
* *Home Studio Recording*, December 1983
* Long Beach photos
TAMA Octobans

**TAMA Octobans** are tube-shaped, small single-headed tom-toms. Stewart Copeland had used a series of four TAMA Octobans as well as a set of eight with The Police, both live and studio.

He acquired a set from Summerfield's music instrument dealer on 15 June 1979, and they are first seen in the music video for "Can't Stand Losing You" shot at the Lyceum two days later.

The Octobans had 70s model Royalstar lugs, and were often fitted with Remo Weather King CS (black dot) batter heads.

## References

* various
* The PoliceWiki
Andy Summers Guitars

## Guitars With The Police

Andy Summers' main guitar throughout The Police 1963 Fender Telecaster custom (or 1961 Fender Telecaster), which was key in defining the band's sound.

He had other guitars that he alternated with during the set, including:

* Aria Pro II PE-1000 (1978-79)
* Hamer custom guitars (1980-82)
* Hamer Sunburst Cherry (1979-80)
* Roland G-303
* 1961 Fender Stratocaster (1979-84).
* Guitarman custom electric 12-string (1983-84) ("Synchronicity I")

In the studio, And had also used other guitars from his collection. For example a 1956 Gibson Les Paul Junior, which he used slide guitar on "Next To You" and "On Any Other Day" guitar solos and a 1958 Gibson Les Paul Custom on *Reggatta De Blanc*. For later albums he had a 1957 Gibson Les Paul Goldtop, Gibson Chet Atkins CE, 1958 Gibson ES-335 and 1964 Gibson ES-175 to name a few. By the time of *Ghost In The Machine* he wasn't using the Telecaster as much the studio, as he felt the former wasn't versatile enough for what he wanted to do.

## 1978 to 1983

### Electric guitars

* Aria Pro II PE-800
* Aria Pro II PE-1000
* Aria Pro II LS-600D
* Danelectro Longhorn Guitarlin (?)
* Fender Stratocaster (1961)
* Fender Telecaster (1963 or 1961)
* Gibson ES-335 (1958)
* 1958 Gibson Les Paul Custom
* Gibson Les Paul Goldtop (1957)
* Hamer custom guitars
* Hamer Standard
* Hamer Sunburst Cherry
* Roland G-303
* Roland GS-500

### Basses

* 1963 Fender Precision standard sunburst
* Rickenbacker 4001
* Steinberger L2 Black

### Acoustic/semi-acoustic/classical guitars

* Aria Pro II EA-650
* Gibson Chet Atkins CE (1982)
* Martin D-28 (1958)
* Recording King acoustic

### Assorted string instruments

* Coral sitar
* Gittler Guitar

## 1986-87

* 1961 Fender Stratocaster
* 1963 Fender Telecaster custom
* 1958 Gibson ES-335
* 1964 Gibson ES-175
* Coral electric sitar
* Roger Giffin Stratocaster
* Roger Giffin Telecaster
* Steinberger bass

## 2007-present

* Fender Telecaster Andy Summers signature
* Klein custom guitars
Sydney Rose Wiki

**Welcome to the Sydney Rose Wiki!**

The Sydney Rose Wiki is a free online encyclopedia about the singer! Anyone is welcome to edit!

We're a collaborative community website about Sydney Rose that anyone, including you, can build and expand. Wikis like this one depend on readers getting involved and adding content. Click the "ADD NEW PAGE" or "EDIT" button at the top of any page to get started!

## About Sydney Rose

Sydney Rose is a singer/songwriter. She is 17 years old and her cover of the song Turing Page got popular from TikTok.
Feeling Whitney

Feeling Whitney is a cover by Sydney Rose. It was released on August 2, 2020. It is a cover of the original song by Post Malone.

LYRICS:

Ooh, ooh, ooh, ooh, ooh, ooh-ooh

Ooh, ooh, ooh, ooh, ooh, ooh-ooh

Ooh, ooh, ooh, ooh, ooh, ooh-ooh, ooh

And I've been looking for someone to put up with my bullshit

I can't even leave my bedroom so I keep pouring

And I ain't seen a light of day since, well, that's not important

It's been long

And I was feeling Whitney, me and my homies sip Houston

Cars and clothes, thought I was winning

You knew I was losing

You told me to wake up but my clock always stays on snooze

And I'm done

To each their own and find peace in knowing

Ain't always broken, but here's to hoping

Show no emotion, against your coding

Just act as hard as you can

You don't need a friend

Boy, you're the man

Ooh, ooh, ooh, ooh, ooh, ooh-ooh

Ooh, ooh, ooh, ooh, ooh, ooh-ooh

Ooh, ooh, ooh, ooh, ooh, ooh-ooh, ooh

And I've been looking for someone that I can buy my drugs from

It seems like every plug ran east to Utah, became Mormons

Drought comes around, feels like I have no one to depend on

Sober, ugh

I had 80 beers on Tuesday night, I had nothing to do then

I put on a little Dwight and sang a happy tune

And lit a cigarette, stepped out the door, had an appearance

Drank more

To each their own and find peace in knowing

Ain't always broken, but here's to hoping

Show no emotion, against your coding

Just act as hard as you can

You don't need a friend

Boy, you're the man

Ooh, ooh, ooh, ooh, ooh, ooh-ooh

Ooh, ooh, ooh, ooh, ooh, ooh-ooh

Ooh, ooh, ooh, ooh, ooh, ooh-ooh, ooh
1978 Fender Precision fretless

Sting first bought this bass on 21 October 1978 (according to The PoliceWiki) at Manny's music store on 48th street, New York while doing a string of concerts at the CBGBs.
He played it for the rest of the *Outlandos D'Amour* tour, but after mid-1979 he noticeably preferred the Ibanez. On the *Reggatta de Blanc* tour in late 1979, Sting had the Precision bass with him onstage, presumably as a fast backup to the Ibanez, while the latter was used for the whole setlist.

In 1980 Sting got this bass repainted red for the *Zenyatta Mondatta tour*.

Sting's last known photo appearance with the Fender Precision fretless was in a Kirin beer advert published around March 1987 in *Music Information* magazine. The bass is reportedly still in Sting's storage.

In the December 1987 issue of *Musician* magazine, it is mentioned that Sting was using a Fender Precision, but it's unclear if this was referring to the fretless version here or a standard fretted model.

## References

* The PoliceWiki website & facebook page
* *International Musician & Recording World*, July 1979
* *Musician*, December 1987
Sequential Circuits Prophet-10

The Prophet-10 (essentially two Prophet 5's in one) is a polyphonic synthesizer. Sting can be seen using one in several photos taken during the *Ghost In The Machine* sessions, though it's unclear if it appears on any songs. Though it's likely the main keyboard riff on "Once Upon A Daydream" (an outtake from *Ghost In The Machine*, later issued as B-side on "Synchronicity II" in 1983).
Andy Summers Amplifiers & Cabinets

## With The Police

For most of The Police's career, Andy was playing through a pair of Marshall 100-watt amplifiers with a 4x12 cabinet for each one. But in the very early days of The Police (i.e. around the time of *Outlandos D'Amour*) he had an Ampeg amp of unknown model and a Fender Twin Reverb, both of which he'd use in tandem to get enough sound. Then, for the 'Rock Goes To College' show at the Hatfield Polytechnic on 21 February 1979, he had switched over completely to using Marshalls.

For studio work, he had diversified to other amps like the Music Man 212-HD 130-watt, the Roland Jazz Chorus JC-120 (solid state) and other Roland amps; he and the engineer would normally try different guitar and amp combinations to see which ones worked best for particular sounds. The Marshall amps were mostly for Roland GR-300 guitar synth sounds.

On the *Synchronicity* tour he had Mesa/Boogie Mk. IIC amplifiers in addition to the Marshalls.

## 1984 onwards

* Dean Markley combo
* Music Man
* Mesa/Boogie Triaxis
* Bob Bradshaw custom amplifiers
* Roland Jazz Chorus JC-120
Revox A77 stereo

From around late 1976 to 1979, Stewart Copeland used a **Revox A77** (mk. iii) stereo reel-to-reel tape recorder for demoing purposes at his Goldhawk Road home. The Revox was the first serious tape machine Stewart acquired, but other newer tape machines and recorders like the TEAC 4-track and the Sony PCM-F1 would eventually take over from the Revox.

As of 2012, he still owns the Revox.

**Surrey Sound Studios** also had a pair of Revox A77 mk. III recorders. Besides for making 15ips copies, Nigel Gray would often use these for tape delay, for example the echo on the kick drum in "Walking On The Moon" (Stewart plugged the snare and hi-hat into a Roland RE-301 Chorus Echo). Engineer Chris Gray remembers the same technique being used previously on a record by a punk group called the Homosexuals.

## References

* *Home Studio Recording*, December 1983 article
* *Beat Instrumental* September 1979 article reproduced with permission on The PoliceWiki
* Stewart Copeland post with Revox A77 in view
* Various photos
* The PoliceWiki (Various entries)
* Chris Gray (Surrey Sound's Revoxes)
Pre-Outlandos performances equipment

## Sting

**Basses**:

* 1962 Fender Jazz

**Amplification**:

* Fender Dual Showman Reverb amp head (1978)
* Fender Dual Showman 2x15" cabinet (1977 & 1978)
* Marshall JMP 1992 Super Bass amp - appears in a few concerts between 1977 and 1978
* Musicman 115(?) - Old Grey Whistle Test 2/10/1978, possibly borrowed
* Sunn 118V 1x18" speaker cabinet or (possibly) Ampeg V4 cabinet (1978)

## Andy Summers (July 1977-)

**Guitars**:

* 1963 Fender Telecaster custom

**Amplifiers**:

* Fender Twin Reverb
* Ampeg amp (?)
* Marshall 1960A cabinet - seen in photos of Hope & Anchor concert
* Hiwatt Custom 100 DR-103 - borrowed for Mont De Marsan concerts in August 1977
* Hiwatt SE4123 4x12 speaker cabinet - borrowed for Mont De Marsan concerts in August 1977

## Stewart Copeland

**Drums**:

* TAMA light blue kit

**Cymbals**

* Zildjian
* UFIP - probably stolen

## Henri Padovani (January - August 1977)

**Guitars**:

* Jacobacci Studio II

**Amplifiers**:

* Fender Twin Reverb (?)
* HH Electronic IC100 212 100-watt guitar combo - seen in photos from Palais des Glaces concert
* Marshall - borrowed for the Mont De Marsan concerts in August 1977

## References

* Various photos
* *Walking On The Moon* by Chris Campion (Mont De Marsan amps)
* Old Grey Whistle Test 2/10/1978
Sony PCM-F1

Stewart Copeland had a **Sony PCM-F1** digital 2-track recorder at his Worried Rabbit studio, which he bought for 800 pounds. He initially used it to mix down the *Rumble Fish* score and soundtrack in 1983.

On the *Rhythmatist* album, the PCM-F1 was useful for sampling different sounds and whole songs - these recordings were then transferred onto the Fairlight in the studio.

## References

* *Home Studio Recording*, December 1983
* *Electronics & Music Maker*, August 1985
Klark Kent

*Klark Kent* was a solo project/alter ego fictional persona created by Stewart Copeland. In the late 1970s it was intended by Stewart as an outlet for most of the songs he was writing, as the numbers were either rejected by the band (Sting in particular) or they just weren't suitable for it.

For Klark Kent, Stewart played all the instruments. Here is the typical array of Klark Kent gear he used on early Klark Kent records, particularly on "Don't Care":

* TAMA Imperialstar Light Blue drum kit
* Gibson SG
* 1968 Fender Telecaster bass
* 1957 Fender Champ Tweed amp
AIR Studios Montserrat

**AIR Studios Montserrat** was a recording studio located on the island of Montserrat in the Caribbean.

The studio was owned by George Martin (producer of Beatles fame) and was opened in 1979. It was notable for its star-studded history, with the likes of Elton John, Dire Straits, Phil Collins, Eric Clapton, Paul McCartney and many others recording there. Including Sting and The Police.

The studio was closed in 1989 after a hurricane hit the island, and currently remains derelict.

The Police had recorded albums Ghost In The Machine and Synchronicity there.

## Equipment (1979-83)

**Tape machines**:

* MCI JH-24 2" 24-track
* MCI JH-110 2" 24-track
* Ampex ATR-102 1/4-inch (x3)

**Mixing consoles**:

* Neve A4792 8078 custom-built console /w NECAM automation

**Outboard gear**:

* AMS dm2.20 tape phase simulator
* AMS DMX 15-80 digital delay/harmonizer (x3)
* Audio & Design SCAMP units:
	+ F300 Expander/Gate(s)
	+ S03 Sweep EQ
* BGW power amplifiers
* Dolby M16 24-track noise reduction
* Dolby 361 Processor /w CAT 22 Dolby A noise reduction card
* Marshall time modulator model 5002 A system
* EMT 140
* EMT 240 gold plate
* UREI 1176 compressors (x4)
* UREI 545 Parametric Equalizer (x2)
* UREI Graphic Equalizer model 527-A (x2)

**Monitors**:

* Altec 604s
* Auratones
* JBL 4350
* JBL 4343
* Tannoy HPD
* UREI crossovers

**Instruments**:

* Bosendorfer 225 Imperial
* Roland Jupiter-8 (possibly)
* Sequential Circuits Prophet-10 (possibly)
* Yamaha CS-80

## Sources

* *Studio Sound*, May 1979
* Various photos by Lynn Goldsmith of The Police on Montserrat
* *I'll Be Watching You* by Andy Summers (photos)
* *Billboard*, 1980-02-09 - Montserrat feature beginning page 35 of PDF
REMO 8" Rototom

From 1979 to around 1981, Stewart Copeland used a REMO 8" Rototom for live performances.

He often triggered the TAMA DS-200 drum synthesizer with this, and might have used it for experimental tom sounds on occasion. The Rototom was coated with Remo Weather King CS batter drum head.

## Quotes from Stewart Copeland about the Remo Rototom

> "I've used the Remo Rototoms quite a lot. They're very specialized drums. If you're buying your first drumset, I wouldn't really bother with them. But if you're into experimentation, I suppose they're experimental. As for the basis for a drumset they're not versatile enough. I like them for particular tom-tom effects, I usually prefer normal tom-toms because they have a good sound. But occasionally, you want to use something that doesn't sound like it's part of a drumset."
>
>

## References

* *Sticks*, August 1989 (DEU)
* The Police Countdown concert
* *Modern Drummer*, November 1981 (Ask A Pro section)
Chougetsu

* Default
* Royal
* Reluctant Lady

## Biography

A vigorous high school girl.
This trainee at the Human Gene Enhancement Center dreams to become a righteous hero.

She's determined to protect the weak and fight against the evil. She's now a criminal at large because people found that she was an because people found that she was a "Sensate."

An orphan from the Gene Crisis War who was raised by the United Council and grew up with Mokushihi. Together, they became recruits of the Oasis Human Gene Enhancement Center and received trainings She considers Mokushihi her sister and still calls her Miss Mokushihi as she always has.

After gaining the Sensorium power, she starts to question whether she's good or evil. So she wants to learn the truth of Sensates.

## Stats

 level 1

 level 50

 level 80

## Skills

All sensates have 2 skills and a king's talent. By upgrading the sensate in the Gene MOD menu, you can upgrade these skills and add passive skills to a sensate. In some cases you will need to choose between two upgrades/skills for a single upgrade. These choices are marked below with an asterisk (\*).

 **[Full Power]**: Increase Skill damage coefficient.

 **[Spiral Force]**: For each enemy hit, deals more damage to subsequent enemies.

 **Explosive**: Maximum number of loops have been performedMaximum number of loops have been performedRoyal Skills critical hits deal 30% more damage.

 **Legion's Might\***: Maximum number of loops have been performedMaximum number of loops have been performedAt the start of turn, if there are more allies than enemies, gains a stack of Inspire.

## Personal Gear

**Motorized Device**: Maximum number of loops have been performedMaximum number of loops have been performedBasic attacks inflict Mark. Royal Skills apply Aim.

## Voice Lines

Maximum number of loops have been performed
Synchronicity tour equipment

## Sting

**Basses**:

* 1962 Fender Jazz
* Henk Van Zalinge Z-bass
* Spector NS-2 white

**Amplifiers**:

* Crown (see page for more details)

**Effects**:

* Boss CE-2 Chorus
* Boss FV-100 Guitar Volume

**Miscellaneous**:

* Moog Taurus I bass pedals (x2)
* Oberheim OB-Xa
* Oberheim DSX sequencer

## Andy Summers

**Guitars**:

* 1963 Fender Telecaster custom
* 1961 Fender Stratocaster
* Guitarman custom electric 12-string ("Synchronicity I")

**Amplification**:

* Alembic F-2B Stereo Preamp
* Marshall 100-watt amp head (x2)
* Marshall 4x12 cabinets (x2)
* Mesa/Boogie Mk. IIC (x2)

**Effects**:

* DeArmond 610 Volume Tone pedal
* Maestro Echoplex EP-2
* Pete Cornish custom FX board

**Miscellaneous**:

* Moog Minimoog Model D
* Roland GR-300 guitar synthesizer

## Stewart Copeland

**Effects & electronics**:

* AMS DMX 15-80 digital delay
* Deltalab DL-4
* Oberheim DMX drum machine
* TAMA DS-200 drum synthesizer(s)
* Simmons SDS-V electronic drum pads
* Simmons SDS-V module

## Danny Quatrochi

* Steinberger L2 Black - played offstage on "Invisible Sun". Sting's Steinberger.

## References

* Jeff Seitz
* *Musician*, June 1983
* Synchronicity concert footage
* Various photos including this one
* *I'll Be Watching You* book by Andy Summers
W.H. Barnes upright piano

Stewart Copeland had a **W.H. Barnes upright acoustic piano**, which he inherited from his father.

Stewart is pictured with this upright piano in a photo from around 1979 - also present in the photo is a 1978 Ibanez Artist 2618/12. This piano was likey the one played on "Does Everyone Stare", the demo of which was used as an introduction to the album version.
Novels

Novels is a cover by Sydney Rose. It was released on August 2, 2020. It is a cover of the original song by Rusty Clanton.

LYRICS:

In a world of places

Let's go somewhere we haven't gone

We've got younger faces

Than our hearts are letting on

And we won't place any stock in old days

Let's save up for something new

Someday I won't have to wait for you

What if I asked

What if I asked you to stay?

What if it cost

You, your heart and your last name?

And we won't place any stock in old days

Let's save up for something new

Someday I won't have to wait for you

(You, you, you, you, you)

And when we sleep at night

I hope that we write novels in our heads

Of what to tell the other when we wake

And when morning comes before we're done

With volumes left to choose

Let's say "I love you"

Just "I love you"

I love you

And "I love you too"
Gift

Work in progressThis page is currently a work in progress and may not have all fields filled in. If you can, feel free to add the information and remove this message once all relevant information has been added to the page.
Gifts are items that can be used to increase your intimacy with a Sensate. Each Sensate will have their own preferences to which gifts they like more than others. When gifting an item a Sensate likes, the amount of intimacy points gained is increased by 20%. Gift cards are not preferred by any Sensate, but do provide twice the amount of intimacy points compared to other items of the same tier.

Gifts can be found in the normal stages of the Main Story, intimacy stages, as commission rewards and can be bought in the shop.

Gift Cards
Call Me Tonight

Call Me Tonight is a song by Croix Du Nord that Sydney Rose is featured on. It was released on July 18, 2021.

LYRICS:

Could you call me tonight

The stars are getting harder to see

Stay on the line

And I'll talk 'til we both fall asleep

I promise we'll meet somewhere in both of our dreams

Soon we'll wake up

And you'll say that it's time to leave

But how do I tell you

You're all that I want to see

It's goodbye for now but I'll meet you again somehow
LJComics Wiki

**Welcome to the LJComics Wiki!**
Upcoming comic series and a comic verse, many heroes, gods, and so much more. this wiki also uses the power scaling tiering system from VS battle wiki to determine characters' power levels.

We're a collaborative community website about LJComics that anyone, including you, can build and expand. Wikis like this one depend on readers getting involved and adding content. Click the "ADD NEW PAGE" or "EDIT" button at the top of any page to get started!

## Important articles

PlaceholderThe Comic VersePlaceholderCharactersPlaceholderThe First EpisodePlaceholderAn Important LocationPlaceholderXXXXXXXXPlaceholderScaling System

*Need help building out this community?*

* Rules of this wiki
* Getting Started
* How to Contribute
* Managing your new community
* Guides
* All Help articles

You can also be part of the larger Fandom family of communities. Visit Fandom's Community Central!

*Community Founders*: Write a good and paragraph-length description for your welcome section about your topic. Let your readers know what your topic is about and add some general information about it. Then you should visit the admin dashboard for more tips.
Idk What I Did

Idk What I Did is a song by Sydney Rose. It was released on April 28, 2021.

LYRICS:

[Phone Call]

Hey, how are you?

Good, how are you?

I'm good. Do you wanna go get coffee after school, and like catch up on life or whatever?

Yeah, do you want me to pick you up?

Yeah, or if like...

[Verse 1]

You stopped calling and you stopped texting

You started to fade like I wouldn't know a thing

And I've been trying to think but I don't know what I did

You weren't so passionate anymore

You didn't talk about the things you adore

Like your favorite movies or your favorite character, Thor

[Chorus]

And it's not like you to be this quiet

It's not like you to be this private

'Cause you used to be the only person I talked to every day

I don't know what I did to make you go away

[Phone Call]

I love your sunglasses...so much

They're my mom's

How's your life?

Yeah let's talk. I just finished a song that I needa play on my birthday. Just finished today

Really?

[Verse 2]

You stopped making plans, you didn't give a damn

I didn't get a warning, I didn't understand

And I've been trying to think but I don't know what I did

And you've been so mean, you haven't seen me

It would've been better if you'd just told me what I did wrong

And how I can do better next time

[Chorus]

And it's not like you to be this quiet

It's not like you to be this private

'Cause you used to be the only person I talked to every day

I don't know what I did to make you go away

I don't know what I did to make you go away

[Bridge]

And you told me that everything happens for a reason

But I can't figure out why you're getting up and leaving

And you told me that we would get coffee next week

But instead, you returned my shirt that you sleep in

[Outro]

And it's not like you, It's not like you

'Cause you used to be the only person I talked to every day

I don't know what I did to make you go away

I don't know what I did to make you go away

[Phone Call]

Has he called you back yet?

No. I guess he was mad at me but I don't know what I did
Lifting Strength

File:Supes Iconic Lifting.jpg(taken from VS battle wiki)

## Introduction

**Lifting Strength** is defined as the mass that an individual can lift on Earth. In other words it measures the amount of upwards force a character can produce. As such appropriate pushing and pulling feats are also considered a part of this statistic. Telekinesis or other similar abilities must be specifically referred to as separate from physical strength, when used in a lifting feat. Tearing is also included in this category, but it is an unreliable method of calculating overall lifting ability a vast majority of the time. This is because the force used in a tearing motion is much lower than a lift, as a tearing motion uses much fewer muscle groups and is an awkward application of force compared to other movements. Likewise throwing an object a certain height upwards can be used as lifting feats, as these would require greater strength then just lifting the object.

While Striking Strength measures the energy of the characters physical attacks, Lifting Strength measures the amount of mass they can lift, which is determined by the amount of force a character can produce. This means they measure two different physical quantities. Furthermore it can't be assumed that a character that can physically produce the amount of energy used in lifting an object by a certain height can also lift it, if it didn't demonstrate the ability to produce that level of Lifting Strength. It is a common feature within fiction to feature characters capable of vastly greater physical striking strength energy outputs than what would be required to lift weights that they are repeatedly shown to struggle with.

Hence Lifting Strength and Striking Strength are in general not comparable and should be evaluated separately.

## Other statistics

* Attack Potency
* Speed
* Striking Strength
* Durability
* Range
* Intelligence