"Well, it's a Soundcraft one-inch 16-track and the little Soundtracs 16-in, 16-out desk which is great value money-wise and for what it can do. It's pretty much the ultimate for home studios and I suppose it's just about workable as a commercial studio. That's my basic set-up, with Dolby Noise Reduction on the 16-track, Little Red monitors and a Quad amp. I don't have many mics, just the UH7, C451 with C85 capsule and a PZM. I've got a few other things in operation, but as it's basically a one-man operation, I'm unlikely to need more than those three mics. If I'm doing drums I have to beg, borrow or whatever. I've also got a Drawmer compressor/limiter and Drawmer Gates - which are the best - and an Ursa Major Space Station, a Rebus rack and a couple of gates and a delay package. Then there's a Dimension D, a TC stereo parametric, Klark Technik Graphic and a Sony PCM F1 for mastering."

"The album was mastered using a digital PCM-F1 system, which is wonderful. When I bought the 38 I had considered getting a PCM-F1 and two video machines and recording by bouncing back and forth and overdubbing, but now I'll probably buy an F1 for mastering."

"I've been investing in the studio as I go along. I have a Sony F1 digital 2-track, which is quite inexpensive, although I would prefer to have a high quality analogue 2-track."

In this interview he talks about using the Sony PCM-F1.

"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."

Mentioned as a part of the equipment used on Visage's 1984 album "Beat Boy", according to Egan's 1984 interview with Electronic Soundmaker & Computer Music.

"It involved a New England Digital’s Synclavier II PSMT system, and early MOTU’s Performer sequencer running on Apple Macintosh SE-30, both controlling an impressive array of tone modules via MIDI exclusively. All synths were mixed through an Allen & Heath Brenell 20-channel desk directly to a Sony PCM-F1 digital stereo system, no tape machine in between, and absolutely no sampling involved (neither Digital Performer, nor ProTools existed yet)."

Absolutely everything in the studio goes direct into a patch-bay rather than the Soundtracs 16-8-16 mixer, even the Linn Drum. His effects range from a few Rebis modules, to a Ibanex HD1000 DDL, MXR Graphic Equaliser, and Electro Harmonix Instant Replay unit. There are also about five cheap and noisy effects pedals. Monitoring is via a pair of the ubiquitous Auratones whilst his latest purchase, a Sony PCM F1, has relegated his Revox B77 to the role of tape echo. The Sony is "a very neat little video machine. Betamax is much better than VHS because you can freeze frame upon frame which is great for me because I like working with pictures. It's brilliant for outdoor work too — it's lighter than a Uher and when you add a camera its a video!"

"I was going to get a Fairlight, but since working alongside Nigel Bates at Ambiance Studios near Brighton and seeing what he does on his PPGs, I've cancelled my Fairlight order and I'm getting a PPG - it's much better. I used the Fairlight for some of the stuff I've done recently with a band called Touch, and really the PPG is so much better - the sound sampling, everything is so superior. The sounds Nigel gets are brilliant. I love walking around with my battery-powered Sony PCM F1, sampling all manner of sounds then storing them on the PPG disks."