recursal/Fanatic-Fandom huggingface dataset:
1963 Fender Telecaster custom

The 1963 (or 1961) Fender Telecaster custom (hybrid) was Andy Summers' main guitar throughout The Police years - played on both live and studio work - and was a key instrument in sculpting the band’s sound.

It appears on several Police hits like "Roxanne", "Message In A Bottle" and "Walking On The Moon". On the last two Police albums, however, he wasn’t using the Telecaster as much as he started preferring the 1961 Fender Stratocaster and other guitars, and felt the former ‘lacked a few highs’ in the studio.

The custom Telecaster was later replicated as the *Andy Summers Tribute Telecaster* model in 2007. Summers himself later used the Tribute Telecaster on The Police's Reunion tour from 2007 to 2008, while the original remained safe in storage.

## Background & Specification

The Fender Telecaster was bought by Andy from a guitar student of his in 1972 for $200. It already had modifications done to it:

* a 1959 Gibson PAF Humbucker pickup at the front (in the place of the original stock Fender neck pickup)
* a built-in preamp/overdrive unit at the back (controlled by a third knob at the front)
* mini-toggle phase switch.

At some point - probably during the Kevin Ayers era - Andy had changed the tuners to Schaller tuners.

A second string tree was added by the time of the Milton Keynes concerts in August 1979.

More recent photos of the Telecaster show that the phase switch had been removed and the preamp switch has been moved towards one of the knobs.

## Andy Summers quotes on the Telecaster

> "My main guitar is the Telecaster I use onstage. It's a '63 I think. It's just a great guitar - it's lively to play, very responsive. Because it's been messed around with it's come out sounding great... it's a very versatile guitar - I've been able to use it so much.
>
>

> "I don't use [the Telecaster] so much now in the studio, I tend to use a [Gibson ES-335] and a Stratocaster a lot more. I've found my Telecaster to be a little lacking in highs sometimes in the studio - not quite brilliant and clean enough for some of the things you want to do, but it's great for solos" (*International Musician & Recording World*, September 1982)
>
>

> "I bought it off a kid in Los Angeles *prior* to the Police for like, 200 bucks. He wanted the money and I needed a guitar. I was very fortunate; I realized later that night, “This is a really great guitar. It’s magical.” And I offered to give it back, but he didn’t want it. For me, it was a life-changing instrument. I still have it, obviously – I *can’t* get rid of a guitar that changed everything for me and I used to record almost every single Police track. It’s a hybrid instrument, whoever had it put a Gibson humbucker in the front and an overdrive switch powered by a nine-volt battery. There was an out-of-phase switch on it, as well. So, somebody really played around, and it was an absolutely kick-ass guitar. I barely play it anymore, though." (Andy Summers interview with Vintage Guitar)
>
>

## References

Various, including:

* *Guitar*, March 1980
* *Guitar Player*, June 2007
* *Guitarist*, Summer 2007
* The PoliceWiki
Sting gear by era

Note: only a summary of information on touring/studio setups is included for The Police eras. For setups on specific tours, check the tour pages for either The Police tours or solo tours.

## 1974-76 (Last Exit)

* 1962 Fender Jazz
* Fender Dual Showman 2x15" cabinet
* Marshall bass amp

## The Police (1978 - early 1980)

**Basses**:

* 1962 Fender Jazz
* 1978 Fender Precision fretless (October 1978 - June 1979)
* Ibanez Musician bass (August 1979 - )

**Amplification**:

* Ampeg SVT

**Effects & misc.**:

* Dunlop Cry Baby Wah pedal (?? - 1979)
* MXR M-101 Phase 90
* Moog Taurus I synth pedals
* Moog Minimoog Model D synthesizer

## The Police (1980 - Spring 1981)

**Basses**:

* 1962 Fender Jazz (Zenyatta recording sessions only)
* 1963 Fender Precision standard sunburst
* 1978 Fender Precision fretless (Summer 1980-)
* Henk Van Zalinge Z-bass (Summer 1980-)
* Ibanez Musician MC-940NS natural (February - April 1980; Zenyatta sessions)
* Ibanez Musician MC-940 white (early 1981)
* Ibanez MC-980 8-string fretless (February - April 1980)

**Amplification**:

* Ashly SC-40 preamp
* Ashly SC-44 Keyboard Input Processor
* T.D. Audio amplification system

**Effects & Misc.**:

* MXR M-101 Phase 90 phaser pedal
* Moog Taurus I synth pedals
* Moog Minimoog Model D synthesizer

## The Police (Summer 1981 - 1984)

**Basses**:

* 1962 Fender Jazz
* 1963 Fender Precision standard sunburst (Summer 1981)
* 1978 Fender Precision fretless (*Ghost In The Machine* and *Synchronicity* sessions only)
* Henk Van Zalinge Z-bass
* Steinberger L2 Black (January - September 1982; possibly early Synchronicity tour performances too)
* Spector NS-2 white (Synchronicity tour, 24 July 1983-)

**Synthesizers & electronics**:

* Oberheim OB-Xa
* Oberheim DSX sequencer (July 1983 - )
* Moog Taurus I synth pedals

**Effects**:

* Boss CE-2 Chorus
* Boss FV-100 Guitar Volume
* MXR M-101 Phase 90

## 2016

From November 2016 Bass magazine issue

**Basses & strings**:

* 1957 Fender Precision /w Seymour Duncan pickup
* DR Low Rider nickel strings (gauges 40, 60, 80 & 100)

**Amplification**:

* Avalon VT837 preamp
* Lab Gruppen PLM20000Q
* Clare Brothers Audio speaker cabinets - two ML-18's (with an 18" speaker in each box) and two 12AM cabinets on top (with a 12" speaker and 2" high frequency horn per cabinet)

**Misc.**:

* Pete Cornish switching board
* Sennheiser ew 500 wireless
Eventide H949 Harmonizer

The **Eventide H949 Harmonizer** was a device used live by sound engineer Kim Turner to thicken Sting's voice on certain songs during the set.

For the 6 February 1980 concert in Los Angeles, the Harmonizer's chorus-like effect is noticeable on Sting's vocals for throughout the whole concert.

The Harmonizer was first acquired on 29 March 1979. A support band called The Units helped locate one for The Police to use during the concert that day. From then on it was used frequently on the band's subsequent tours.

## References

* The PoliceWiki
* *Musician*, December 1981
* *Modern Recording & Music*, May 1982
* *International Musician & Recording World*, March 1984
TAMA Superstar Super Mahogany

This was one of Stewart Copeland’s kits, used from 1979 to 1980.

Stewart Copeland toured with this kit in the US. He used it for US concerts the *Outlandos D'Amour* tour (March - May 1979) and once again during the *Reggatta De Blanc* tour (September - November 1979, January - February 1980)

From February to April 1980 he used it for the rest of the *Reggatta* tour. He’s seen with the kit in concerts in India, Japan, Netherlands etc.

In Summer 1980, Stewart Copeland had set up this kit at Wisseloord Studios to record *Zenyatta Mondatta*. In addition to that, the kit had also been used for concerts in between until 27 July 1980.

## References

* Various photos from 1979-80
* *Around The World* film
* Jeff Seitz
* The PoliceWiki
Boss CE-2 Chorus

Sting had a **Boss CE-2 Chorus** pedal in the early 80s, which he used with The Police mainly to thicken bass parts.

He's first spotted with the Boss Chorus in a Summer 1981 photo taken during rehearsals at AIR Studios in Montserrat, where they cut *Ghost In The Machine*. From then on the Chorus was part of his live setup, for subsequent Police tours.

Studio-wise, the Boss Chorus was used a lot on *Synchronicity*, and possibly also on *Ghost In The Machine*.

## References

* CLASSIC TRACKS: The Police 'Every Breath You Take' on Sound On Sound
* *Musician*, December 1981
* *Musician*, June 1983
* Various photos
InferKit

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

## Other

### URL

InferKit

**InferKit** is a tool and website that generates state-of-the-art text. This website offers a web interface and API for AI–based text generators. The targeted audience of this website could range from novelists looking for inspiration, to app developers.

Non-developers can simply enter text on a field and receive automated completions of the sentences in the website's UI. Meanwhile, developers can use the site's API in order to edit text, and set the continuation to false. If it is true, then the developer will be able to receive a continuation of the sentence.

## Example usage

* **Input:** While not normally known for his musical talent, Elon Musk is releasing a debut album
* **Completion:** While not normally known for his musical talent, Elon Musk is releasing a debut album. It's called "The Road to Re-Entry," and it features an astounding collection of songs... (continued)
1961 Fender Stratocaster

The 1961 Fender Stratocaster (red) was used by Andy Summers.

## Gear history

Andy distinctly remembers buying the 1954 Fender Stratocaster at a guitar store in Austin, Texas for about $400. Dates-wise, this was either on 7 March 1979 or on 31 October 1979 when The Police did concerts there; one of the earliest known appearances of the Stratocaster was during the 10 November 1979 concert at Brookie's Club 870 in Detroit, Michigan.

The Stratocaster was among the guitars Andy was using in the studio for ***Zenyatta Mondatta***, ***Ghost In The Machine*** and ***Synchronicity***. Songs that Andy recorded with the Stratocaster include "Demolition Man" and "Every Breath You Take".

Live, the Stratocaster didn't see as much use as the Fender Telecaster; he did, however, fathom out the Stratocaster for some of the concerts for at least a few numbers during the *Reggatta De Blanc* and *Zenyatta Mondatta* tours. The Stratocaster was played on the *Ghost In The Machine* and *Synchronicity* tours. On the latter tour it was played the most frequently: on "Wrapped Around Your Finger", "King Of Pain" and "O My God", although on the former tour it was played on "De Do Do Do Do De Da Da Da".

## References

* The PoliceWiki (dates)
* Michigan photo
* Andy Summers' career in gear: "It’s all mythology: sometimes old guitars are great but not always"
* *One Train Later* autobiography
* *Rolling Stone*, 18 February 1982 ("Demolition Man")
* Synchronicity concert footage
* Gateshead concert footage 31 July 1982
Crown amplifiers

Sting had used the following Crown (a.k.a. Amcron) amplifiers on tour with The Police:

* Crown PSA-2 (low to mid-range frequencies)
* Crown D-75 (high)
* Crown DC-300A (mid to high-range)

In 1985, he switched to a Crown Micro-tech 1000 amplifier for the *Dream Of The Blue Turtles* tour.

## References

* *International Musician & Recording World*, July 1985
* *Musician*, December 1981
* *Musician*, June 1983
Oberheim OB-Xa

The Oberheim OB-Xa was Sting’s main synthesizer with The Police from 1981 to 1984.

## Background

Sting first used the Oberheim OB-Xa to record *Ghost In The Machine*. It was probably one of the new "toys" members of the band were offered by manufacturers at the time. Sting working with the Oberheim brought keyboards more to the forefront on the album.

## In the studio & examples

According to Hugh Padgham, Sting never really liked spending ages programming a synth (the Oberheim OB-Xa in this case) to get particular sounds he wanted. Instead he'd say he wants roughly such-and-such and runs through the different presets available on the synth until he found something, then he'd record it.

On *Ghost In The Machine*, the OB-Xa seems to be used for rather straight forward string textures, like in "Invisible Sun", which was originally written as a chord sequence on the synth. And possibly appears on "Spirits In The Material World" as well.

By *Synchronicity*, Sting had started operating the Oberheim in conjunction with the DSX sequencer, and started to experiment further with the Oberheim sound-wise. For example, the Oberheim synth portamento in "Synchronicity II" (just before the final chorus), the percussive sequencer patterns in "Synchronicity I" and "Walking In Your Footsteps".

In addition to songs from those albums, "How Stupid Mr. Bates" (which The Police recorded for the ***Brimstone and Treacle*** soundtrack) features Oberheim OB-Xa filter modulation, which the whole song appears to have been built around. Sting might have had the Oberheim interfaced with his Moog Taurus I pedals so he could sustain the D note when the backing tracks were cut live.

## Live

The OB-Xa's live debut was on the 22 August 1981 concert at the Liberty Bell Park, Philadelphia, having replaced the Minimoog. Sting also played "Invisible Sun" on the synth, while Danny Quatrochi would handle the song's bass parts offstage.

On the ***Synchronicity*** tour, the OB-Xa was accompanied with the DSX sequencer. Sting had already devised sequences for "Synchronicity I", "Walking In Your Footsteps", "King Of Pain" and "Wrapped Around Your Finger". For all Oberheim equipment on the tour (the OB-Xa included), data cassettes were used to reprogram them for each song. In the OB-Xa's case, the tapes stored data for specific patches.

Sting also had an Oberheim OB-8 but didn't seem to use it on tour.

## Post Police

It was thought that the Oberheim OB-Xa was given to Kenny Kirkland (who used one on Sting's *Dream of The Blue Turtles* tour). Apparently - from Danny Quatrochi's memory - the Oberheim was given to a repair shop in London, but had either been stolen or sold off to someone else and it was never seen again.

## References

* *Musician*, December 1981
* *Musician*, June 1983
* *Studio Sound*, March 1984
* *Trouser Press*, May 1982
* Jeff Seitz
* Danny Quatrochi
* Video of Gateshead Concert 31.7.82
Simmons SDS-V electronic drum pads

On the ***Synchronicity*** tour, Stewart Copeland used Simmons SDS-V drum pads with the Simmons SDS-V module. Except that later in the tour the Simmons equipment was replaced with TAMA Rack toms with TAMA DS-200 drum triggers attached.

Stewart Copeland also had a Simmons 'Suitcase Kit', seen in photos of his Worried Rabbit studio, which was later auctioned on reverb.com.

## References

* Jeff Seitz
* *Sticks*, August 1989
* Simmons Suitcase Kit Drum Pads Triggers Owned by Stewart Copeland #30711
* Erica Echenberg photo - Simmons suitcase kit seen on top of racks
Gittler Guitar

Andy Summers had a Gittler Guitar among his collection. He first had one around 1982. It appeared in the "Synchronicity II" music video in 1983.

## Quotes about the Gittler Guitar

> "I first saw this piece of art in the Museum of Modern Art in New York. I never forgot it and after three years or so I was able to meet Alan Gittler and have him make me one.
>
>

> "It is entirely handcrafted and contains not one bolt, rivet or screw in the whole assemblage. It has a separate pickup for each string and therefore may be played through six amplifiers. It reminds me of Picasso's Fishbone."
>
>
HuachinangoCraft

HuachinangoCraft fue una serie técnica de Minecraft creada por huachinango t.

huachinango t fue su único intergrante.

Episodios: 9

Episodios Cancelados: 2 (Episodios Normales):

La serie terminó por un error en el mundo, borrándolo.

La serie completa es lost media, por la eliminación del canal de huachinango t. Por eso mismo no se sabe cuando comenzó, ni cuando terminó
Roland Jazz Chorus JC-60

This amp was owned & used by Andy Summers and Stewart Copeland

## Andy Summers' JC-60

Andy Summers had a Roland JC-60 among his range of guitar amps used in the studio for ***Zenyatta Mondatta***, ***Ghost In The Machine*** and ***Synchronicity***.

### References

* Photos in *I'll Be Watching You* book
* *Everyone Stares* documentary - JC-60 visible in Andy's rig in Wisseloord Studios footage from Zenyatta sessions
* *Music U.K.*, October 1981

## Stewart Copeland's JC-60

This was among the Roland gear Stewart Copeland acquired at Manny's Music store - a leftover from the *Outlandos*/early *Reggatta* era. Stewart likely acquired the JC-60 in early October 1979.

He used this live for the echo effects from the Roland RE-301 Chorus Echo in 1979.

### References

* Stewart Copeland Music Radar interview
* Various photos
* Jeff Seitz
* Interview: Stewart Copeland Opens Up About Drumming, Inspiration, and Tama Drums
Paiste cymbals

Stewart Copeland has been an endorsee and user of Paiste cymbals since March 1981. Before then he used a mix of Paiste and Zildjian cymbals on a few occasions, the Paistes being borrowed ones. For example, as seen in photos from the Paradiso concert in June 1979, a Paiste 2002 18" crash is seen amongst the Zildjians.

In the 80s, Stewart had an assortment of Formula 602, 2002 and Rude cymbals.

With The Police, he tended to use mostly the Paiste Rude series (mostly live). As stated in a 1983 interview, Stewart claimed he hardly ever used the Rudes in the studio as they were too loud to use and tended to fill up the sound (“they’re much louder than the drums”), as he was using the ambient mic'ing technique on his drums. The Rude cymbals were more useful for live work as he needed loud enough cymbals to be picked up by the PA and get past the bass and guitar.

As an exception, *Ghost In The Machine* had used Rude cymbals both live and in the studio. For Stewart’s kit setups for the album at AIR Studios in Montserrat had at least one or a few Rudes among the other Paistes: the living/recreation room kit had a Rude 18" Crash/Ride among the Paiste 2002 and 602 cymbals. While there was the main studio kit which had a 24" Rude ride, a 16" Rude ride/crash and (possibly) a 22" Rude crash/ride - presumably this was for rehearsals and video shoots only.

## References

* *International Musician And Recording World*, July 1983
* *The Police: 1979-1981* photo book by Didi Zill (Ghost In The Machine living room kit)
* Photos in Under The Volcano documentary (Ghost In The Machine studio kit)
* Paiste Profiles March 1981
* Hugh Padgham ICON interview on Ghost In The Machine ("Magic" ride cymbal bleed info)
* various photos
* Jeff Seitz

## External links

* 1980 photo with Paiste 602 crash amongst Zildjians
* Photo from circa 1978 (rather than 1980) with Paiste cymbal and blue kit
Pearl 5" x 14" Snare (B4514 Custom Deluxe Chrome-Over-Brass)

Stewart Copeland had been playing a **Pearl 5"x14"** snare as his main snare for most of his career. He got two Pearl snares in Summer 1979 - one a chrome over bass (the one described here) and one chrome over steel.

It wasn't until the *Synchronicity* tour in 1983 that Stewart had settled on the Chrome-over-brass snare, when sound engineer Kim Turner chose it as "the one", with more crack and larger decibel range. Jeff Seitz believes that both snares were used interchangeably both live and in recording until that point.

The snares had the original Pearl flanged hoops, but Stewart broke them and Jeff Seitz replaced them with TAMA die-cast hoops, resulting in what was technically a hybrid snare.

This snare was the basis of the TAMA SC145 Stewart Copeland Signature snare, which Stewart himself played on The Police's reunion tour from 2007-2008.

## Stewart Copeland quotes on the snare

> I don’t know where [the Pearl Snare] came from. And neither does Jeff Seitz, who’s been my tech through the whole time. We don’t know where it came from. But [the signature model] took a lot of different prototypes to nail the sound of that one. And I really think they got there. And it’s a hit drum. A couple times that I’ve checked into a studio, they’ll have a Ludwig Black Beauty, and then they have one of my drums in there too. It fulfills a specific, distinctive function, which is that high crack. If you want that high crack, “Let’s get that old Stewart drum out.”
>
>

Stewart on the Pearl:

> The Pearl (snare) drum was a hybrid. It’s not a Pearl drum really, because it has different hoops on it. God knows where those hoops came from. And they’re mismatched. That was the combination! In fact, we got neurotic about “the drum” and “the snare.” And after playing all the records with it and playing shows around the world, it was always that snare.
>
>

## References

* Jeff Seitz
* Interview: Stewart Copeland Opens Up About Drumming, Inspiration, and Tama Drums (quotes)
* *Stewart Copeland: Drumming In The Police And Beyond* by Joe Bergamine (2021)
T.D. Audio custom-built cabinets

Beginning in early 1980, Sting was using a mini P.A. system custom-built by T.D. Audio of Montclair, New Jersey.

This was a three-way speaker system, which included:

* Bass cabinets /w two 12" folded horns (low midrange frequencies)
* Bass cabinets /w six Electro Voice 12" speakers (high midrange)
* two Gauss 4140 horn cases with Gauss HF-4000 drivers (high)

An earlier description from taken from *Fachblatt Musik Magazin* (DEU) December 1980 issue mentions the following:

* Bass cabinet with two 15" Electro Voice speakers
* Bass cabinet with two 15" Electro Voice bass speakers + two Electro Voice Tweeters
* Bass cabinet with six 12" electrovoice speakers
* Gauss radial horn

Cabinets are Electro-Voice, Eastern acoustic and custom-built.

## References

* *Musician*, December 1981
* *Musician*, June 1983
* Various photos
* The PoliceWiki
Stewart Copeland Worried Rabbit (a.k.a. Sacred Grove) equipment

**The Worried Rabbit** was a name given to various home studios Stewart had since 1983. Also known as the Sacred Grove for jam sessions.

## 1983/84

**Synthesizers**:

* E-mu Emulator I
* Oberheim OB-8
* Oberheim DSX
* Oberheim DMX
* Roland RS-505 Paraphonic

**Rack-mounted units**:

* ITAM Stereo 10-band Graphic Equalizer
* Marantz 1040 Stereo Amplifier
* Roland SRE-555 Chorus Echo
* Roland SPA-240 Power Amplifier
* Valley People Kepex II noise gates

**Other**:

* Allen & Heath Syncon A mixing console
* Auratone 5C monitors
* Otari MTR-90 24-track
* Sony PCM-F1

Source: various photos

## 1985

**Instruments**

* Linn 9000 - replaced Oberheim DMX
* Fairlight CMI (x2)
* Yamaha DX7

**Misc.**

* Lexicon 480L
* Friend Chip SRC
* Auratone 5C monitors
* Yamaha NS-10 monitors

## 2010's

**Guitars**:

* 1978 Fender Stratocaster natural
* Gibson SG

**Amps**:

* Roland JC-120
* Marshall JCM-800 series
* Vox AC15

**Effects**:

* Roland RE-301 Chorus Echo
Sting Keyboards & Synthesizers

## Keyboards & Synths with The Police

Main keyboards & equipment:

* Minimoog (1980-)
* Oberheim OB-Xa
* Oberheim DSX
* Oberheim DMX

Synths supposedly lying around in the studio:

* Roland Jupiter-8
* Sequential Circuits Prophet-10

For writing, Sting got a Casio Casiotone M-10 portable synthesizer which he used to write songs on tour - "Spirits In The Material World" began as a riff on that keyboard.

## Solo years (1985-present)

* New England Digital Synclavier system
* Roland D-50
* Yamaha DX7
Outlandos D'Amour tour equipment

## Sting

**Basses**:

* 1962 Fender Jazz
* 1978 Fender Precision fretless

**Amplification**:

* Acoustic 320 bass head - used for CBGB's concert in November 1978, likely rented
* Acoustic 408 bass cabinet - used for CBGB's conert in November 1978, likely rented
* Ampeg SVT amp heads
* Ampeg SVT-810E 8x10" speaker cabinets

**Miscellaneous**:

* MXR M-101 Phase 90 - used from Spring 1979
* Moog Taurus I pedals

## Andy Summers

**Guitars**:

* Aria Pro II PE-1000
* Aria Pro II LS-600D
* 1963 Fender Telecaster custom

**Amplification**:

* Marshall 100-watt heads
* Marshall 4x12 cabinets

**Effects**:

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

## PA & Lighting

* Midas FOM mixer (Kim Turner's)
* Entec lighting & monitors

## References

* *International Musician & Recording World*, July 1979
* Photo from CBGB's concert, most likely November 1978
* Various photos
* *One Train Later* by Andy Summers
* 50 GOLDEN MOMENTS – No.13 (Entec)
Roland SDD-320 Dimension D

Andy Summers used a **Roland Dimension D** stereo rack-mounted chorus unit on the *Ghost In The Machine* tour from 1981 to 1982. It's visible among the units in the "Roland Rack" case, and even appears among the rack in an Andy Summers Roland advert.

The Dimension D was most likely used to reproduce the stereo chorus effect on Police records created by the Roland JC-120 amplifier and Roland JC-60 (albeit mono for the latter) - both of these were Andy's choice of amps in the studio, whereas live he tended to use Marshalls instead.

Summers seems to have had the Dimension D with him for the recording of ***Synchronicity***, but its use on the record is unclear.

## Quotes on the Roland Dimension D

> "Yeah, I had the [Roland Dimension D] for a while, because it was very good. You know, for a long time in that period [with The Police], I operated [it] with my Pete Cornish board once it was all set. Obviously, as time went on, I got the BOSS pedals.
>
>

## References

* Various photos
* *Under The Volcano* - Synchronicity session footage
* BOSS USERS GROUP: ANDY SUMMERS
Linn 9000

The **Linn 9000** was a drum machine released in 1984 by Linn Electronics.

Stewart Copeland acquired the Linn 9000 around 1986, replacing the Oberheim DMX. He got it around the time of Season 2 of *The Equalizer* TV show. He used it on many film scoring projects around that time, including *The Equalizer*. Apparently he loved the Linn's repeat button, which he used on the hi-hat.

Stewart Copeland posted a picture of his Worried Rabbit studio from around 1985/86.
GuilleRex

GuileRex o Willy\_miau\_miau es un usuario de YouTube, perteneciente a Personajes Inanimados, sus únicas apariciones en YouTube es durante segundos en vídeos de Reyx y Nintindius y en comentarios de ellos dos.

No tiene ningún vídeo, estuvo en SurviUHC, pero le echaron por no entrar.

Su logo es una ge.

Fue parte de amigueros in yt, Ratitas de Atún, Nutrientes Rangers y Huachinango/Astral Team, pero esos grupos se disolvieron.

También fue parte de Amigueros y Amigueros Community, pero se unificaron.
Yamaha Alto saxophone

Sting used Yamaha Alto and Tenor with The Police in the early 80s, mainly around the time of *Ghost In The Machine*.

Sting acquired one while The Police were touring in Japan in January/February of 1981. He previously played saxophone as a teenager, "although not very seriously":

> The fingering has always stayed with me, and I can read music, so getting back into it was fairly simple. I bought a Yamaha alto and tenor in January and spend about two hours a day, the fruits of which you can hear on the [Ghost In The Machine] album. It's section work, really. I'm no Charlie Parker, but it's very satisfying getting a simple riff together, then dubbing it and putting harmony on it. The skills involved are fairly similar to the ones you use in singing; you know, breathing, pitch, a sense of harmony. (*Musician*, December 1981)
>
>

On the *Ghost In The Machine* album, he had an alto and a tenor saxophone, and using those he'd record about four tracks of horns - two tracks of each - to develop the sound of a brass section. Often while recording he'd play saxophone lines in between singing vocals: "I laid [the saxophone] in every key in every [song] and they'd spend the whole week wiping it off! (laughs) By the end of the sessions, I convinced them that it sounded good." Hugh Padgham had trouble trying to record Sting's vocals with the appropriate microphone position, provided he played saxophone during vocal tracks: eventually he went for an average position so that Sting could play saxophone and stoop over and sing.

The saxophone and the increasingly layered vocals marked the band taking a different direction on the album compared to their previous work. However, when it came to getting the saxophone parts on stage, Sting found he could not handle the sax while also singing onstage (and playing bass) so the Chops horn section was recruited instead. He did play the saxophone briefly during one of the Philadelphia concerts in August 1981, on "Demolition Man" while Danny Quatrochi took over on bass for that number.

On *Synchronicity*, there were far fewer sax parts, with only a part on "O My God". Sting was more interested in the Oboe by then.

## References

* *Musician*, December 1981
* *Modern Recording & Music*, May 1982
* Hugh Padgham ICON interview on *Ghost In The Machine*, 2015
* *Studio Sound*, March 1984
Aria Pro II LS-600D

Andy Summers is seen playing an Aria Pro II PE-LS 600D guitar in the "Roxanne" music video, in scenes filmed during a Police concert on 25 April 1979 at the Fulcrum Theatre in Slough, England.

The guitar has the Les Paul-style pickguard removed, and it has an Antique Violin finish.

## References

* Roxanne official music video
* The PoliceWiki
Casio Casiotone M-10

Sting had used a Casio M-10 32-key portable keyboard as a writing tool in the early 1980s. On tour, he'd fiddle around with the Casio so that it would play orchestral pieces according to the *Walking On The Moon* book (though the book refers to the Casio as Sting’s portable synthesizer). Sting come up with the keyboard riff for "Spirits In The Material World" on the Casio in the back of a tour bus.

He'd bring the Casio along with him to Montserrat for the ***Ghost In The Machine*** sessions in the Summer of 1981. Though it wasn't necessarily used for recording, it's often seen lying around in the studio or members of the band would be playing around with it in various photo/videoshoots.

Furthermore, Stewart Copeland remembers that the mallet line on "King Of Pain" (from *Synchronicity*) originated as a set of chords played by Sting on the Casio (or at least written on the Casio), which had a "clinky" sound. But it was decided that the riff be played on a Xylophone (or a marimba as Jeff Seitz remembers) to make it more organic-sounding.

## References

* *Musician* magazine, June 1983
* Jeff Seitz
* Various phtos
* *Walking On The Moon* by Chris Campion (p. 108)
* Stewart Copeland Songfacts interview ("King Of Pain" info)
TEAC 244 Portastudio

The TEAC 244 Portastudio was basically an update of the TEAC 144 Portastudio, released 1982.

Andy Summers had upgraded to the TEAC 244 from the 144 model, and used it to write and record demos for ***Synchronicity***. He preferred to realise his ideas using the Portastudio, then he'd record professional demos at a studio; he found this method to be a clearer way of thinking.
Sting Ten Summoner's Tales equipment

## Sting

* 1962 Fender Jazz
* 1957 Fender Precision
* New England Digital Synclavier System
* Linn LinnDrum (guide tracks)

**Microphones**:

* Sony C800 (vocals)

## Dominic Miller

**Guitars**

* Fernandez Strat
* Gibson Chet Atkins CE

**Amps**

* Mesa/Boogie

**Effects**:

* Boss pedals

## David Sancious

* Peavey DCM modules
* Yamaha TX-816 racks

## Studio equipment

### Outboard (SSL Portable Studio)

* dbx 160 compressor
* dbx 192 de-essers
* Eventide H949 harmonizer
* Eventide H3000 harmonizer
* Lexicon 224XL
* Lexicon 480L
* Summit valve compressors
* UREI 1176 compressor
* Yamaha SPX9000

**Recording**:

* Sony PCM-3348 digital 48-track
* Sony DAT machines
* Sony professional CD player
* Fostex cassette decks

**Mixing console**

* SSL G-series 64-input console

**Monitors**:

* ATC SCM-20 nearfields
CRAFT Blasters

CRAFT Blasters fue un equipo "competitivo" de Rocket Leage, Fortnite y Miecraft creado por Reyx.

Su única batalla oficial fue: CRAFT Blasters Vs. PANDA GAMING, en Rocket Leage, la cual perdieron.

Los integrantes fueron: Reyx, Polaquiño, Nintindius, Ibai el Ultra-Crack y huachinango t.

Se terminó unificando con Personajes Inanimados.
Le Studio Morin Heights

**Le Studio** was a recording studio located in Morin Heights, Canada. It was founded by Andre Perry in the 1970s. The likes of artists such as Rush, Bee Gees, Bryan Adams, Cat Stevens and several more.

The Police's first experience of working at Le Studio was when they made an unreleased live album there in August 1981. They came back and had mixed *Synchronicity* there using an automated SSL console in January/February 1983.

Sting also overdubbed/mixed some of the *Dream of the Blue Turtles* at Le Studio in 1985.

## Equipment (1981-83)

**Mixing console**:

* Solid State Logic SL4000E Master Studio System /w Total Recall automation, Serial No. 11 - now owned by Tree Sound Studios

**Tape machines & mixdown materials**:

* Studer A80 Mk. II 24-track
* Studer A800 Mk. III 24-track
* Studer A80 RC 2-track machines
* JVC DAS-90 digital audio recording system

**Outboard gear**:

* dbx 160 compressor
* Dolby M16 24-track noise reduction
* Dolby 361 system noise reduction
* Eventide H910 Harmonizer
* Korg SDD-3000 digital delay
* Lexicon PCM-41 delay
* Roger Mayer RM-58 compressor
* other outboard to be identified

*more info to be found*

## Sources

* Tree Sound Studios, Atlanta (console)
* Billboard 12 September 1981 - JVC
* Various photos including on this page
* Jeff Seitz - Korg delay
Andy Summers Keyboards & Synthesizers

## With The Police

Andy had used a Moog Minimoog Model D live and is seen with it in some studio shots from the making of the *Zenyatta* and *Ghost In The Machine* (to what extent it appears on record is unclear).

Other keyboards he had in the studio were a Roland SH-2 on Zenyatta Mondatta and a Sequential Circuits Prophet-5 on the latter two albums. Generally in The Police, the keyboard parts he played on those albums were mostly to blend with guitar parts, e.g. the high octave melody on "Spirits On The Material World" (which was a combination of high guitar plucking and Prophet-5). He played keyboards merely as textures on "Behind My Camel".

Andy was known to have played some piano on the *Outlandos D'Amour* - including the backwards piano on "Hole In My Life", "Hole In My Life" and "Sally". The piano in question was a Broadwood grand piano that belonged to Surrey Sound.

## 1984

* Sequential Circuits Six-Trak
* Roland Jupiter-6
* Roland JX-3P

## 1987-88

* Emulator II
* Fairlight
* Roland D-50
* Roland Jupiter-8
* Sequential Circuits Prophet-5
* Yamaha DX7II

## Guitar synthesizers

Andy Summers used a Roland GR-500 with GS-500 guitar a bit on the ***Reggatta De Blanc*** album, mostly for the bubbling effects on "Walking On The Moon". However, he didn't have time to properly get into the synth.

Eventually, around the time of making ***Zenyatta Mondatta***, he got the GR-500's successor - the Roland GR-300 - and played it during the bridge of "Don't Stand So Close To Me". He continued to use the guitar synth on The Police's next two albums (most prominently on "Secret Journey"), and also experimented with it on *I Advance Masked* with Robert Fripp.

In 1984, Andy had upgraded to the Roland GR-700.
Roland CR-78 CompuRhythm

The **Roland CR-78 CompuRhythm** was a preset-based drum machine from the late 1970s, which Sting and Andy Summers owned.

## Sting's Roland CR-78

In the early 1980s, the CR-78 was Sting's drum machine of choice to write and record demos of songs for The Police with. He had written and demoed songs for *Zenyatta Mondatta* and *Ghost In The Machine* with the aid of this drum machine. He nicknamed it "Dennis".

For the recording of "Every Little Thing She Does Is Magic" (the demo with Jean Roussel), Sting used the CR-78's 'Bossa Nova' rhythm preset, which is heard throughout the whole demo. It was this demo that The Police would overdub onto for release.

Sting also had the CR-78 over for the *Ghost In The Machine* sessions on Montserrat in 1981. It was used as a click track for "I Burn For You", and the CR-78 pattern is at the forefront of the movie mix featured in *Brimstone And Treacle*.

He later replaced it with the Oberheim DMX, which also assumed the name of "Dennis" (see page for more details).

### References

* Didi Zill photos
* Brimstone And Treacle
* Sting interview with Jools Holland on Montserrat - "Dennis" is turned on at 3:06
* Every Little Thing She Does Is Magic demo
* *Walking On The Moon* by Chris Campion - Jean Roussel mentions CompuRhythm

## Andy Summers' Roland CR-78

Andy Summers had, like Sting, used the Roland CR-78 in the early 80s for demoing potential songs for The Police.

### References

* Didi Zill photos
* *Sounds*, 23 February 1980
Ghost In The Machine tour equipment

* incomplete

## Sting

**Basses**:

* 1962 Fender Jazz
* Henk Van Zalinge Z-bass
* Steinberger L2 Black

**Effects**:

* Boss CE-2 Chorus
* Boss FV-100 Guitar Volume
* MXR M-101 Phase 90

**Miscellaneous**:

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

## Andy Summers

**Guitars**:

* 1963 Fender Telecaster custom

**Amplification**:

* Alembic F-2B Stereo Preamp]] - seen in the "Roland Rack" case
* Marshall 100-watt amp heads
* Marshall 4x12 cabinets
* Roland SIP-301 Preamp
* Roland SPA-40 Power Amp (x2) - seen in "Roland Rack" case

**Effects**:

* Maestro Echoplex EP-2
* Pete Cornish custom FX board
* Roland Chorus Echo SRE-555
* Roland SDD-320 Dimension D
Roland GR-500

Andy Summers had a **Roland GR-500** guitar synthesizer (alongside a Roland GS-500 guitar synth controller) in the late 1970s. He used it to create the "bubbling" sounds heard faintly in "Walking On The Moon" on the ***Reggatta De Blanc***. Andy later dropped it in favour of the newer Roland GR-300.

He acquired it at Manny's Music Store in New York, possibly around Spring 1979.

## Quotes about the Roland GR-500

On buying the guitar synth:

> "Well, I played [the GR-500] in store and immediately fell in love with it, with its possibilities. I also had in mind how useful it would be in a three-piece like The Police. I've used it a bit on the new album [Reggatta De Blanc], and I may be using it onstage. I'm very keen to experiment with synths of all kinds." (*Sounds*, 1 September 1979 issue)
>
>

> "But I think [the Roland GR-500]'s a great instrument, and it's completely different to the newer GR300 that I have. It does a lot more, it's like a real synthesiser in a way." (*One Two Testing*, December 1982)
>
>

> "I’ve been into guitar synthesis for about five years now. By the second album [Reggatta De Blanc] I had bought the original **Roland GR-500**. We were working so hard on the road, though, that I didn’t really get a chance to get into it. Later on, I used a Roland GR-300 for a couple of numbers every night in the Police show - "Don’t Stand So Close to Me," as well as material from the fourth album [Ghost In The Machine]." (*Guitar Player*, June 1986)
>
>
Gibson SG

Stewart Copeland had used this guitar frequently for Klark Kent records, and presumably for recording home demos as well in the mid-late 1970s. Besides those projects, he played the Gibson SG on "Fall Out" which was recorded for The Police in 1977 (with Henry Padovani adding a solo on his Jacobacci guitar). Henry poses with Stewart's Gibson SG in photos from the same photo session that produced the original single cover for "Fall Out".

It's possible Stewart had also played the SG (or the 1978 Fender Stratocaster on "On Any Other Day" and "It's Alright For You" from the *Reggatta De Blanc*. He plays all the instruments on both numbers (except the guitar solo on "It's Alright For You"); they have supposedly originated as Klark Kent numbers but they ended up being used for The Police owing to a shortage of material.

He still owns the guitar and it belongs to his Sacred Grove studio.

It's unclear what year Stewart's Gibson SG was made, but it's thought to a model from around the late 60s/early 70s.

## References

* *The Secret Police Man* by Henry Padovani
* *Strange Things Happen* autobiography
* The PoliceWiki
* At Home With Stewart Copeland on YouTube
Zildjian cymbals

From 1976 to March 1981, Stewart Copeland was mainly a user of Avedis Zildjian (or simply Zidjian) cymbals before switching to and endorsing Paiste cymbals.

Whilst being a Zildjian user, on a few occasions he had added in at least one Paiste cymbal, likely a borrowed one.

He used the following Zildjian cymbals, all of which are from the "hollow logo" A series:

* New Beat 14" hi-hats
* 18" crash (x2)
* 16" crash
* 8" splash
* 22" ping ride

## References

* Jeff Seitz
* *Sticks* (DEU), August 1989
* various
Dark

Dark (O Bestia) es el miembro mas inteligente de toda la Elite Force , y a pesar de ser el hijo mayor de GodSuper , Dark es un "Dios Alterado" como dios de la oscuridad a un completo monstruo , ya que fue maldecido por una bruja que odiaba a GodSuper , pero eso no le impidió ser el segundo miembro mas poderoso de la Elite Force , ademas es el dueño de las "Industrias Elite Force"

Habilidades Y Armas:

La habilidad única de Dark , es transformarse en su alter ego , "Bestia" , Bestia es el don alterado de Dark , algo que recomiendan a los novatos de la Elite Force es la regla numero 1 , "Nunca (Pero Nunca) Molestes A Dark" si alguien por algún motivo no se aprende esa regla , lo único que puedes y no puedes hacer , es escapar de Bestia , Bestia es una combinación de animales , porta las garras de un tigre , el cuerpo de un lobo , los dientes de un oso , la velocidad de un guepardo , los oídos y nariz de un perro y su poder de dios

Historia:

Dark creció junto a su hermano , Super Volador , y al igual que el , su origen es totalmente desconocido , pero a la edad juvenil de un dios , (150 Años) su cuerpo se sentía extraño , asi que su padre lo encerró , luego en un par de dias , GodSuper vio a su propio hijo como una herramienta para dominarlo todo , asi que lo dejo encerrado por años , a los 210 años , Dark tenia un odio muy grande hacia su padre , pero fue salvado por su hermano y se unió a su cruzada

Actualmente:

Dark dirige una industria de tecnología avanzada , tiene como novia a Atena y adopta a Jessie Bum como futura anti-heroína junto a un muchacho llamado Matthew y teme que algo maligno aparezca , ya que teme que Bestia enloquezca

Enemigos:

Bon Black

Comodin Y Zina

Personalidad:

Dark es un tipo muy difícil de convencer , nunca le han gustado las bromas y es muy fácil hacerlo enojar , siempre esta seguro de sus planes e inventos , pero , solo llega Atena , y lo cambia todo , y si llega Jose , pues . . . tu sabrás que pasa
1968 Fender Telecaster bass

Stewart Copeland used this bass to record various Klark Kent signles including "Don't Care", and has often been a part of his home studio arsenal. He still owns this, and it's still put to use at his Sacred Grove studio.

This bass was previously owned by Curved Air bassist Tony Reeves, who gave it to Stewart in 1974.

Like many Fender basses, the original Chrome pickup and bridge covers had been removed prior to landing in Stewart Copeland's ownership. A few decades later, he had those installed back on the bass to restore it to its original glory.

## References

* *Strange Things Happen* autobiography
* The PoliceWiki
* At Home With Stewart Copeland on YouTube
Stewart Copeland Home recording equipment

This page covers Stewart Copeland's home equipment from 1977 to 1983 before it became known as the **Worried Rabbit** or Sacred Grove.

## 1977/78

* Revox A77 stereo
* 1957 Fender Champ Tweed amp
* Vox amp

## 1979

**Instruments**

* 1978 Fender Stratocaster natural
* Gibson SG
* 1978 Ibanez Artist 2618/12
* 1968 Fender Telecaster bass
* Roland RE-301 Chorus Echo
* W.H. Barnes upright piano

**Tape machines**:

* Revox A77 stereo
* TEAC A-3340S 4-track

**Other**:

* Marantz 1040 Stereo Amplifier

## 1980

* Allen & Heath Syncon A mixing desk
* Henk Van Zalinge Z-bass
* keyboards
* Various guitars
Deltalab DL-4

The **Deltalab DL-4 Performer Series** digital delay was Stewart Copeland's preference for hi-hat delays from 1980 during the *Zenyatta Mondatta* tour. It replaced the Roland Chorus Echo RE-301 tape echo.

Interestingly, in a photo taken during a concert on 14 August 1980, the Deltalab DL-4 can be seen on top of the Chorus Echo and beneath the TAMA DS-200 (even though the backs are shown). Perhaps during that show Stewart was trying out the DL-4 to see how it compared to the Chorus Echo or he used it as a backup to the latter.

From around 1981 he had two Deltalab DL-4's: a standard one and a black one. The latter was more or less a backup. But it is unusual to see a black DL-4; it might have come from sound engineer Kim Turner's audio company which was a conduit for the band's electronic requirements.

Stewart often used the Deltalab delay live with its accompanying Memory Module. It was hardly ever used in the studio because it had a slight noise floor according to Jeff Seitz, hence digital delay lines available at the studio were often used on the drums, such as the Korg SDD-3000.

## Quotes about the Deltalab DL4

> "Originally, [Stewart] played through a Roland Space Echo and the quality of that is good, but not when you're dealing with frequency ranges from cymbal to bass drum. The Roland Space Echo is fine in sort of a limited range and when I first suggested a digital delay, he said he'd check it out. He liked it because the digital delay reproduces your frequencies from your lowest to your highest. The Roland Space Echo had terrible top and there was no bottom because of the size of the tape, which was small. The digital delay has no tape change." (Jeff Seitz, Stewart's drum tech in *Modern Drummer*, October 1982)
>
>

## References

* Jeff Seitz
* Didi Zill photos and various
* 14 August 1980 concert photo on The PoliceWiki
DeArmond 610 Volume Tone pedal

The **DeArmond 610 Volume Tone** was a volume pedal used by Andy Summers with The Police.

Andy at least started using the DeArmond around Autumn 1978 during the Police's US and UK tours, alongside an MXR M-101 Phase 90, prior to getting a pedalboard. He continued to use the DeArmond for subsequent tours (with the exception of the *Zenyatta Mondatta* tour, when the Roland FV-2 volume pedal took over). It was mostly used for Andy's Pete Cornish custom FX board.

In the studio, Andy had the volume pedal from *Reggatta De Blanc* through to *Ghost In The Machine* (and possibly *Synchronicity*). It was previously thought to be a Foxx Fuzz/Wah/Volume (partly the labels looked blacked out or obscured in photos), but in fact judging by its appearance looks far more like a DeArmond 610 volume pedal albeit seemingly modified with an extra input.

## References

* *International Musician & Recording World*, July 1979 (reference to Volume pedal)
* Various photos from 1979-1983
* Lynn Goldsmith photo of Andy Summers rehearsing at AIR Studios in Montserrat with pedal in view
* 1978 photo
Oberheim DSX

Sting was the first member of The Police to get into using sequencers. The DSX was first used on the Synchronicity album, making up the Oberheim OB-Xa ostinato pattern on “Synchronicity I” and the rhythmic marimba-like parts on “Walking In Your Footsteps”.

In Spring 1983, Sting put together some sequences for the then-forthcoming ***Synchronicity*** tour in Los Angeles using the DSX sequencer and the OB-Xa synthesizer. On tour, the DSX was clocked to Stewart’s Oberheim DMX drum machine for “Synchronicity I”, “Walking In Your Footsteps”, “King Of Pain” and “Wrapped Around Your Finger”. For all Oberheim equipment on the tour (the DSX included), data cassettes were used to reprogram them for each song.

Sting describes his amusing relationship with the DSX sequencer:

> [Walking In Your Footsteps] was the first thing I ever did on the sequencer. I was learning to work it and just played a couple of riffs which fit together contrapuntally, then played them through a couple of different sounds. It's wonderfully mechanical and rhythmic. Then I used the same sequence with the drum sound over it based on a classic rock'n'roll riff (laughs). I'm pushing the DSX to its limits. The other day I used up its memory entirely, about sixty-four bars of stuff. and it just said. "Stop! I have no more memory" I tried to stick some more in and it got really angry! It started to buzz and lights began to flash, and I had to turn it off (laughs). I had this bizarre relationship with this machine. I pushed it too far. but now I believe I'm on good terms with it. It's a little like HAL in 2001. Weird, but such a pleasure.
>
>

Stewart Copeland had an Oberheim DSX as well, but hardly used it.

## References

* *Musician*, June 1983
* Jeff Seitz
* The PoliceWiki