Phil Collins

Phil Collins utilizes the Beyerdynamic M88 microphone in his recording process, as shown in the user-uploaded photo on Equipboard.

The item can be seen 5:26 into this video

The official blog of Gretsch Drums shows the original drumkits Phil Collins used.

Pictured is Phil Collins Black Nitron setup. The article reads, "This was the classic left-handed Black Nitron setup used by Phil Collins on tours and recordings with Genesis and on his solo projects between 1989 and 2007"

I think the first keyboard I had was the Wavestation. I got that around the time of But Seriously. That would have been the late '80s. After that would've been the 01/W. I was still in Genesis and Tony (Banks) and I both got the Wavestation the same day.

Phil Collins is playing the DX7 on this live version of 'One More Night' And is evident by its distinct classic E-Piano sound throughout the song

In the official music video for "Ripples" by Genesis, Phil Collins can be seen using a Paiste Formula 602 22" Ride cymbal. During the 1970s, Collins was known for incorporating a mix of Paiste and Zildjian cymbals, including two versions of this ride cymbal—one with rivets and one without.

The 01/W was just invaluable. I wrote so much in hotel rooms all over the world. Then I got the Trinity when it came out, and I started using that more than the 01/W.

This page shows the drum kit that Phil Collins previously owned and used circa '82-'83.

I just got the Triton a couple of years ago, and I now have the Karma

In this article Yvan Bing, sound engineer on Phil Collins' album, Going Back, says, "For most of the recordings, I had a Beyerdynamic M88 on the kick, a Shure SM57 on the snare top and a Sennheiser MD441 on the bottom, another M88 on the low tom, a Neumann U47 for mono ambience and one Neumann U89 as a mono overhead."

You can see Phil using it at 20:06

"...The item can be seen 3:30 into this video..."

I just got the Triton a couple of years ago, and I now have the Karma"

Phil Collins is seen playing the Roland D-50 synthesizer during a live performance on Taratata in 1993.

Screenshot from "Finally" DVD

Close up of Phil Collins' Custom Premier Soundwave 717 kit, from the late 70's- early 80's.

Personnel[edit] Phil Collins – vocals, Roland TR-909 David Frank – Roland Alpha Juno, Mini Moog bass, Oberheim DMX Daryl Stuermer – guitars The Phenix Horns Don Myrick – saxophone Louis Satterfield – trombone Michael Harris – trumpet Rahmlee Michael Davis – trumpet Arranged by Tom Tom 84

I think the first keyboard I had was the Wavestation. I got that around the time of But Seriously. That would have been the late '80s. After that would've been the 01/W. I was still in Genesis and Tony (Banks) and I both got the Wavestation the same day.

In a 1986 Sabian advertisement, Phil Collins is featured using the Sabian 14" AA Regular Hats.

In this A.M.S. interview with Hugh Padgham, he discusses using the delay on the vocals Phil Collins' No Jacket Required:

What's wonderful about using the A.M.S. is that you do get out exactly what you put on. On the new Phil Collins album (No Jacket Required) most of the vocals employ the DMX 15-80S with a 1.007 pitch change and an 11 or 12 millisecond delay - it's clean and really suits his voice. The unit is brilliant for turning something mono into a big fat stereo sound.

In the article provided, Phil gives an interview on what gear he used during The Lamb and A Trick Of The Tail.

Quote from Phil:

My pedals are Speed Kings I've been using them since I was 15, I did try a new Japanese style that has chains instead of leather straps but they didn't suit me.

In this Modern Drummer interview from 1983, Phil Collins mentions owning the original Movement drum machine, which he regarded as the "English version of the Linn". Various sounds from the Movement Mk.I can be heard on the Hello, I Must Be Going album.

In this article Yvan Bing, sound engineer on Phil Collins' album, Going Back, says, "I used rackmounted Neve 1081R mic preamps for all recordings — they're based on the 1081, and I drove them pretty hard, with the meters always going into the red, to get some analogue distortion and saturation before going into the digital world."

Product page for Phil Collins model ProMark drum sticks.

Inside the Gatefold for his Album Face Value he is credited for using the Roland Drum Machine

At the 33:00 minute mark of the 808 Documentary, Phil Collins explains his use of the iconic drum machine.

Producer Steve Hoffman has stated his use of the LA-2A for Collins.

My Teletronix LA-2A, ganged for stereo or mono reproduction via the handy toggle switch in the center of the two units. (...) I've used it on countless projects, Nat "King" Cole, Frank Sinatra, Beach Boys, Doors, Eagles, Ringo, McCartney, Fleetwood Mac, Bob Dylan, Ray Charles, Peggy Lee, Jethro Tull, Chuck Berry, Creedence Clearwater Revival, Van Morrison, White Stripes, Tom Petty, Red Hot Chili Peppers, Ella Fitzgerald, Yes, Sonny Rollins, John Coltrane, Steely Dan, Steppenwolf, Bad Company, Jim Croce, Elvis Presley, Billie Holiday, Judy Garland, Dave Mason, Paul Simon, America, The Band, Crosby, Stills & Nash, The Cars, ZZ Top, James Taylor, Art Pepper, Steve Miller Band, Queen, Rod Stewart, Duke Ellington, John Lee Hooker, Al Jolson, Roy Orbison, Bing Crosby, Sammy Davis, Jr., The Who, Lightnin' Hopkins, Bill Haley & his Comets, Miles Davis, Mamas and Papas, Blue Öyster Cult, The Byrds, Eric Clapton, Bill Evans Trio, Blood, Sweat & Tears, Phil Collins, Alice Cooper, Deep Purple, Jeff Beck, Doobie Bros., Faces, Grand Funk, Heart, Billy Joel, Linda Ronstadt, Ten Years After, Grant Green, Wes Montgomery, Pat Benetar [sic], Elton John, Leon Russell, Metallica. etc.

"I've been playing Noble & Cooley snare drums since the dark ages, and it never ceases to amaze me just how great they sound. They cut through everything."

Phil Collins uses his signature Promark TXPCW Hickory PC drumsticks, designed for drummers who prefer a shorter reach or grip their sticks at the extreme butt end. This information is detailed on the D'Addario website.

Phil Collins discusses using AMS units (including the RMX-16 reverb) in this interview with AMS featured in Recording Engineer/Producer magazine August 1984. A photograph of him at the Town House with a set of AMS units is also included.