Culture Club – Colour By Numbers
The music gear and equipment used by the artists, producers, engineers, and more involved in the making of the 1983 album Colour By Numbers.
Music from Colour By Numbers
Artists on Colour By Numbers
Gear Used On Colour By Numbers
Explore the instruments, equipment, software, and production tools used in the making of Culture Club – Colour By Numbers (1983). Click more on each item to see exactly how it was used.
Steve Levine
Roles:
Studio Equipment used by Steve Levine on Colour By Numbers
"When we made the original albums, the first album Kissing To Be Clever was made only with vinyl in mind, there was no such thing as CD. It was recorded on analogue 24-track, and as half-inch was only just starting to be used, the majority was mixed onto quarter-inch. The second album was recorded 48-track on analogue, and mixed onto Sony PCM F1 [an early stereo digital recorder based around a Betamax video transport]. I did mix some of it on half-inch, but actually the F1 at the time was superior as the format was new, and that was my only master. I immediately transferred it digitally to Sony 1610 [a professional and very expensive early stereo digital recording and editing system based around a U-matic video transport] at Advision Studios, one of the only places to offer that service at the time, and having listened to the tapes again, the F1/1610 master still sounds superior. The third album was recorded digitally throughout, using a 24-track Sony 3324 digital machine, and mixed onto 1610."
Keyboards and Synthesizers used by Steve Levine on Colour By Numbers
Avg price: $209.50
"The track 'Colour By Numbers' must be the very first use of a Yamaha DX7 on record," recalls Steve Levine. "The importer brought one down to the studio to show it to us. It was a Friday, and he said 'You can have it here for the weekend but I must have it back on Monday.' The first moment you heard a DX7 it was the Holy Grail, particularly for the famous Fender Rhodes sound. Most of the Culture Clubs tracks had Fender Rhodes on them, but we were always struggling to get the brightness in the sound, and then when this thing came, the fact that the MIDI didn't really work didn't matter — it was the best piano sound I'd ever heard at that time."