Part of White's home studio, as stated by recording and mixing engineer Joe Chiccarelli in this October 2007 *Sound on Sound* interview about the production of *Icky Thump*. > “Jack and Meg are big supporters of the analogue format, and he’s a big believer in the old-school approach: punch it in, no comping. If you don’t like a vocal take, just erase it and redo it. He has a Studer A80 eight-track recorder at home, and we used a Studer A827 with a 16-track head, and Emtec 900 2-inch tape, 30ips, no Dolby."more
Used to record *Bone Machine*, as stated by engineer Biff Dawes in this February 26, 2015 *Mix Online* interview. > The album was recorded on a Studer A80 24-track machine, with Dolby SR selectively used on certain tracks. The same A80 was used to record *Mule Variations*, as stated by producer Jacquire King in [this interview](https://www.audiotechnology.com/PDF/9/AT9_Recording_Tom_Waits.pdf) from issue 9 of *Audio Technology* Magazine. > As a result of using these various room mics, King sometimes ended up with a full 24-track, which meant that choices had to be made upon which room mics to use. The 24-track that was used was a late ‘70s Studer A80 MkIII, with BASF 900 tape, no Dolby, 30ips, recorded at +6, "hit very hard, which gives more tape compression". The album was mixed to analogue, an Ampex ATR102, on a half-inch tape running at 30ips, without Dolby.more
It was in 1983, while producing at a small studio named the Producer's Workshop on London's Fulham Road, that Steve Lipson received a call asking him to spend a couple of days engineering for Trevor Horn. This would be at Sarm West, where an SSL E-Series console was supplemented by a couple of Studer A80 tape machines.more
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