Brian Eno

This blog post on the recording of Eno & Karl Hyde's Someday World album describes Eno's gear. "The rest of Brian’s setup sat on top of two Samson Resolve 80a monitors. Straddling both speakers was a Numark M101 two-channel DJ scratch mixer, and to its right sat a Numark Axis 9 CD player with loop, stutter and speed controls. The stutter effect in particular was something Brian used quite a lot during the session."

Developed by Eno and Peter Schmidt in 1975, as related in the official product description.

In this article in the December 1995 issue of Future Music magazine, the TG77 is named in the "Kit List" as being one of Eno's synths.

In this article in the December 1995 issue of Future Music magazine, the A3 is named in the "Kit List" as being one of Eno's effects.

In this Sound On Sound article, there is a photo of Eno's studio showing an Ampeg AMUB-1 Fretless bass.

In the video "Brian Eno & Steven Johnson: Making Music" on YouTube, Brian Eno is shown using the Sonic Charge Permut8 plugin.

In an image from this blog detailing the recording of Karl Hyde and Brian Eno's collaboration on the album Someday World, we see Eno's GDI21 laying across his guitar.

In this blog about the making of Eno & Hyde's 2014 album Someday World, Brian's setup is described as including the Resolv 80a monitors.

In this blog about the making of Eno & Hyde's 2014 album Someday World, Brian's setup is described as involving an Axis 9 CD player, used specifically for its stutter effect.

At minute 1:00 you can see the LPD8 on Brian's desk, next to the computer keyboard. There's some tape near the pads, probably to remind what they control.

The studio is based around two Apple Mac G4 computers running Logic, plus a selection of outboard including (right) the Digitech Studio Vocalist used extensively on Another Day On Earth, a Lexicon Jam Man loop sampler and an Eventide H3000 Harmonizer.

You can see him using Zynaptiq's Morph at 1:38

In this video about Eno's work with Ben Frost, there are a couple of shots of Brian's monitor where we can see that he's using the Transient Shaper plugin. A brief but clear look occurs 3:08 mark.

In this undated image of Eno working in his studio, we can see an HPD-15 positioned in the foreground.

This transcription of a* Future Music* article](http://music.hyperreal.org/artists/brian_eno/interviews/futmus95.html) includes a list of gear Eno was using at the time of writing, which includes an SV-3700 DAT machine.

Visible in the studio photo.

Per this interview in a 1981 issue of Keyboard:

Since I'm normally working in studios I'm liable to use two or three echoes at once. For instance, the Roland, and then a Lexicon Prime Time, and then maybe a long digital reverb as well, a Lexicon 224 or something like that, or the plate reverb or whatever they have in the studio.

Per this interview in a 1981 issue of Keyboard:

That's a very nice synthesizer as well. I've worked with one of those. I've never owned one, but I do like them. Actually, the second piece on the second side of Music for Airports was done with an ARP 2600.

In this article on the making of Eno's album Another Day On Earth, Eno says, "When I was playing parts live into the computer I would do processing through external boxes. I'd also sometimes feed stuff out of my computer through the Kaoss Pads. There's a lot of plugin processing going on. I'd usually print the processed track inside of the computer, and then push it back in time, because when there's a lot of processing you get latency problems. I like working like that, because I can do different things with the already-processed track."

Additionally, the article's sidebar lists both the Kaoss Pad Mk I and II among his equipment.

In this BBC-produced mini-documentary, Eno is sitting in his studio and pulls out a Stratacoustic to briefly perform the Beatles' "Tomorrow Never Knows" in an open tuning.

This image shows Eno at his PC-180A.

The studio is based around two Apple Mac G4 computers running Logic, plus a selection of outboard including (right) the Digitech Studio Vocalist used extensively on Another Day On Earth, a Lexicon Jam Man loop sampler and an Eventide H3000 Harmonizer.

Eno's Apple Macintosh G5 sits behind the stage generating the images that make up his morphing 77 Million Paintings exhibit.

"Two pieces, 'Bottomliner' and 'Under', were started before my computer days, about six years ago, on a DA88," he explains. "For a while I was in this very awkward inbetween land, working partly on DA88 and partly on computer, and this was an awfully clumsy period. I really despise digital tape recording, it's so fragile. So then over the years I went through various versions of Logic, from 4 to 7.1. There's still quite a lot of hate going on for me in working with computers, but I think programs have improved a great deal. The objections I used to make have been taken on board more by programmers. Programs are less menuintensive than they used to be, and Logic is a very evolved program. I also think that plugin instruments today are very much better than the early ones."

A Mac Pro tower can be seen in Brian Eno's studio during the recording of Someday World (to his left, first photo).

Included in Eno's kit list.

In this blog about the recording of the Eno/Karl Hyde album Someday World, Eno's then-recent studio upgrades are described as follows:

"To make all this possible, Peter installed two Focusrite Octopre preamps, and a Liquid Saffire 56 multichannel Firewire interface. The Liquid Saffire acted as the computer interface for the audio, but also passed the raw signals on to a Mackie CR-1604..."

In this image of Eno recording in the 1970s, his A-3340 is visible just behind his left elbow.

Brian Eno can be seen playing Suzuki Omnichord OM-300 in this video.

The fourth photo shows a Korg Triton Studio 61 in Brian Eno's studio.