Josh Homme calls his studio gear setup esoteric, "with a Soundcraft desk and a Fostex 16-track tape recorder."

Around 4:27 as well as other parts in the video, a Fostex B-16 can be seen in the back corner with a reel taken off.

He used Fostex 16 track recorder to record the master mixing from his Fostex Mixer during his 90s

This article details the making of The Other Two and You by Stephen Morris and Gillian Gilbert. "The pair have been resident at their farmhouse home for four years since moving the short distance from Stephen's native Macclesfield. The 200 year-old dwelling commands impressive views of the local countryside and their home studio has been set up in the large converted loft area of the farmhouse's adjacent barn... Their studio at that time, just following [New Order's] Technique, was based around a little Seck desk and a Fostex E16."

In this photo of The Future Sound Of London's Earthbeat studio from the early 90's, the B-16 can be seen

"As far as desks go, at home I've got an RSD 16 into 16 which is basically ample for what I require. That's patched into a Fostex B16 tape recorder. I've got a rack full of effects which I use on stage for guitar anyway but they're useful for this set-up too. It's got the Roland SDE3000 digital delay unit, an Ibanez harmoniser, a Yamaha compressor, and a Roland Dimension D."

Heights & Lows It was around this time that Paddy McAloon’s home recording setup began to develop, when he acquired a Fostex B16 half–inch tape 16–track machine and Seck desk to sketch out demos. After the double album Jordan: The Comeback in 1990, McAloon embarked upon the demos for its intended follow–up, Let’s Change The World With Music using his newly purchased Atari STE 1040 and C–Lab Creator–Notator, only to have them rejected by his paymasters at CBS.

'We bought the basic studio off of someone else for 10 grand: the Fostex B16, rack of effects, JBL G1 1 monitors and TAC Scorpion desk. We had a Scorpion in the studio we first started out in - it's got a hard edge to it, quite a warm, analogue-ey sound. Ideally I'd like something with MIDI - I've got a little MIDI mixer from Tascam at home - just for trimming down after, and for the MIDI mutes. In the studio we rely heavily on the Amek Mozart automation system - we love that. It makes it so easy to carve stuff out when we're mixing."

"Well, I have already mentioned many of the keyboards I use and they are the same ones I have at home. In addition, I've got an Emulator SP12 drum machine and an OSCar mono synth. Everything is routed to one of my two mixers, either the Seck 1882 or an Alice 12 into 2, and all the recording is done on a Fostex B-16. I've just bought one of those new Fostex 4050 Autolocators which allow SMPTE to MIDI control, so I'm looking forward to using that when I get a chance."

"The all-important Drawmer gates and compressor-limiters, which we use for sequencing sounds by keying the gate from a 16th beat tape pulse. They're not really used for keeping the synths quiet - we don't find the DX7s excessively noisy, and the Dolby C noise reduction keeps the Fostex B16 very quiet. Most of the DX parts end up on the TX816 rack anyway, and that's even quieter, probably because the power supply is more stable."

In order to retain as much control as possible over the writing and recording of his music, Hay has built the studio that currently surrounds us. The ubiquitous Fairlight is conspicuous by its absence, but the equipment surrounding us would be enough to satisfy the most avid technophiles: racks of keyboards, a 32-input Soundtracs desk, a pair of Fostex B16 eight-track recorders run in sync and a pair of Westlake monitors that dominate the room.

BOTH CLIMIE AND Fisher have their own separate home set-ups. These have Fostex B16's, A&H mixing desks and recently acquired D50's in common, but very little else. Climie works mainly with the Sequential Studio 440 linked to a Macintosh run Performer sequencing program, while Fisher prefers the Atari based Steinberg Pro24 driving a combination of DX7, TX802, Akai S900 and LinnDrum. Between them they also have a full complement of effects including the Roland SRV2000 ("thoroughly recommended") and the Yamaha REX50.