Björk

The Yamaha QY20 is seen in this video about Björk's 1994 studio, starting 0:10

The Yamaha SU10 is seen in The South Bank Show’s 1997 documentary on Björk, starting 37:20:

I used to work quite a lot with QY20. That’s a different machine but same size and you have 8 tracks and 100 noises and you can make as many songs as you want and a lot of my tunes for the last 4 years I wrote on that. It’s so incredibly convenient. You put the batteries in and you can write on the airplane or your grand’s house or the top of a volcano or in a club or in a tube and this is a different machine this is like a sampler. Mark Bell bought this one and he’s just teaching me it.

The Tascam 464 is seen in this video about Björk's 1994 studio, starting 0:10

A Roland TR-909 can be seen as part of Björk's home studio in Spain in this video at 30:26.

Used for Biophilia, as stated by mix engineer Damian Taylor in this October 13, 2011 SonicScoop interview. Despite being unspecified in the text, this picture is shown.

Instead of relying on conventional instruments to write the songs for the album, Taylor worked within Björk’s specifications to create a suite of unique virtual instruments in Max/MSP that she could then manipulate with a variety of unusual devices while singing.

In place of a traditional instrument or sampler, she would be able to trigger and manipulate her sounds with a Logitech videogame controller, the Telsa-esque tabletop Reactable system, or a first-generation multi-touch screen called the JazzMutant Lemur.

“I think the simplest way to describe what this system allowed her to do, is that there’s no way you could have written these songs on a piano. Compositionally, it allows you to form your ideas and control them very precisely – but in a way that’s completely different from what I’ve experienced playing any other instrument.”

in this video at 30:37, Björk can be seen at her Spanish home studio using her Tascam DA-60 DAT recorder.

Used for vocals on Biophilia, as stated by mix engineer Damian Taylor in this October 13, 2011 SonicScoop interview.

“When I’m recording Björk, I try to compress as little as possible. Basically never. I do have a little something there on the chain just as a safety net, but basically I ride her performances the whole way in. Her dynamic range is just insane. Fortunately, I’ve gotten to know her pretty well, so I can start to feel when she’s about to take a breath and ride my output gain knob. This way, we’re not getting a squished sound going in, but we’re still getting consistent levels.”

(...) Originally, Taylor plugged the SM58 into a Neve 1084, with a Urei 1176 as his safety net. “That worked really well for Volta, where the voice had a more rock and roll sound.” But for this record, he realized the voice “would be a more delicate kind of thing”, and he came to prefer Björk’s Focusrite ISA 430 Producer Pack, while largely avoiding its built-in EQ and compression.

Used for vocals on Volta and (initially) Biophilia, as stated by mix engineer Damian Taylor in this October 13, 2011 SonicScoop interview.

“When I’m recording Björk, I try to compress as little as possible. Basically never. I do have a little something there on the chain just as a safety net, but basically I ride her performances the whole way in. Her dynamic range is just insane. Fortunately, I’ve gotten to know her pretty well, so I can start to feel when she’s about to take a breath and ride my output gain knob. This way, we’re not getting a squished sound going in, but we’re still getting consistent levels.”

(...) Originally, Taylor plugged the SM58 into a Neve 1084, with a Urei 1176 as his safety net. “That worked really well for Volta, where the voice had a more rock and roll sound.” But for this record, he realized the voice “would be a more delicate kind of thing”, and he came to prefer Björk’s Focusrite ISA 430 Producer Pack, while largely avoiding its built-in EQ and compression.

Used for Biophilia, as stated by mix engineer Damian Taylor in this October 13, 2011 SonicScoop interview.

Instead of relying on conventional instruments to write the songs for the album, Taylor worked within Björk’s specifications to create a suite of unique virtual instruments in Max/MSP that she could then manipulate with a variety of unusual devices while singing.

In place of a traditional instrument or sampler, she would be able to trigger and manipulate her sounds with a Logitech videogame controller, the Telsa-esque tabletop Reactable system, or a first-generation multi-touch screen called the JazzMutant Lemur.

“I think the simplest way to describe what this system allowed her to do, is that there’s no way you could have written these songs on a piano. Compositionally, it allows you to form your ideas and control them very precisely – but in a way that’s completely different from what I’ve experienced playing any other instrument.”

Used for vocals on Volta and (initially) Biophilia, as stated by mix engineer Damian Taylor in this October 13, 2011 SonicScoop interview.

“When I’m recording Björk, I try to compress as little as possible. Basically never. I do have a little something there on the chain just as a safety net, but basically I ride her performances the whole way in. Her dynamic range is just insane. Fortunately, I’ve gotten to know her pretty well, so I can start to feel when she’s about to take a breath and ride my output gain knob. This way, we’re not getting a squished sound going in, but we’re still getting consistent levels.”

(...) Originally, Taylor plugged the SM58 into a Neve 1084, with a Urei 1176 as his safety net. “That worked really well for Volta, where the voice had a more rock and roll sound.” But for this record, he realized the voice “would be a more delicate kind of thing”, and he came to prefer Björk’s Focusrite ISA 430 Producer Pack, while largely avoiding its built-in EQ and compression.