Daniel Woodgate

"But for the drummer it started a fascination. Next came a Portastudio which Suggsy had "forgot" about and left hanging around the office. Woody liberated that for a while and found it just right for learning more about process and terms. Then the big one: he lashed out on his current Fostex A8 8-track recorder, and a Fostex 350 mixer (only very recently updated by a bigger Soundtracs 16/8/16 desk), plus an ever-increasing pile of outboard gadgetry."

"The 606 doesn't have individual line-outs so I drilled holes in the back and connected up six line-outs: easy, just attach them to the volume controls... You can wire each volume control up in two ways, with the three tags — one's direct out, no volume control, the other's controlled by the volume knobs. Most people I know who've got a 606 have done it — ridiculous, isn't it? Pull it to bits!"

"But for the drummer it started a fascination. Next came a Portastudio which Suggsy had "forgot" about and left hanging around the office. Woody liberated that for a while and found it just right for learning more about process and terms. Then the big one: he lashed out on his current Fostex A8 8-track recorder, and a Fostex 350 mixer (only very recently updated by a bigger Soundtracs 16/8/16 desk), plus an ever-increasing pile of outboard gadgetry."

"My normal procedure is to put a code from my MSQ700 onto my A8 through my Seck desk (they're really brilliant — only about an inch thick, and light). I have thought about getting a Fostex B16, but that would only have meant getting a mega-desk. A nice clean simple desk, simple routing, and I've got my rack system in order. I used to have two Roland SDE3000s, but I never used them to their full capacity, and they had no sampling, which is why I swapped to Korg SDD1000s, with 2 seconds of delay, and proper triggerable sampling. I always get pairs of things because I'm a stereo fanatic."

"My normal procedure is to put a code from my MSQ700 onto my A8 through my Seck desk (they're really brilliant — only about an inch thick, and light). I have thought about getting a Fostex B16, but that would only have meant getting a mega-desk. A nice clean simple desk, simple routing, and I've got my rack system in order. I used to have two Roland SDE3000s, but I never used them to their full capacity, and they had no sampling, which is why I swapped to Korg SDD1000s, with 2 seconds of delay, and proper triggerable sampling. I always get pairs of things because I'm a stereo fanatic."

"My normal procedure is to put a code from my MSQ700 onto my A8 through my Seck desk (they're really brilliant — only about an inch thick, and light). I have thought about getting a Fostex B16, but that would only have meant getting a mega-desk. A nice clean simple desk, simple routing, and I've got my rack system in order. I used to have two Roland SDE3000s, but I never used them to their full capacity, and they had no sampling, which is why I swapped to Korg SDD1000s, with 2 seconds of delay, and proper triggerable sampling. I always get pairs of things because I'm a stereo fanatic."

"My normal procedure is to put a code from my MSQ700 onto my A8 through my Seck desk (they're really brilliant — only about an inch thick, and light). I have thought about getting a Fostex B16, but that would only have meant getting a mega-desk. A nice clean simple desk, simple routing, and I've got my rack system in order. I used to have two Roland SDE3000s, but I never used them to their full capacity, and they had no sampling, which is why I swapped to Korg SDD1000s, with 2 seconds of delay, and proper triggerable sampling. I always get pairs of things because I'm a stereo fanatic."

"And I've got two R1000 Yamaha reverbs. They're lovely — without them, forget it. DX7s should have them built in. For monitoring, I use headphones, or Bose Studiocraft speakers; and I've got those self-powered Fostex personal speakers, the ones with the preamp in. They're powerful."

"I normally master onto an old Revox A77, though if I was mastering onto cassette, I'd use a Hitachi DE7, as they've got a really close three-head system, which is much better for monitoring input/output. One of my prizes is a Sony Walkman Professional which I use for playback. And I've got an Aphex Aural Exciter. That's good for giving bass drums a big clout."

Daniel Woodgate's equipment list, from the September 1985 issue of International Musician:

Fostex A8 Roland MSQ700 Yamaha DX7 Yamaha RX11 Seck 18/8/2 mixing desk Korg SDD1000 delays x 2 Yamaha R1000 reverbs x 2 Boss CEII chorus x 2 MXR Phase 100 Revox A77 Sony Walkman Professional Hitachi DE7 cassette deck A pair of headphones... Bose Studiocraft monitors Fostex Personal monitors Aphex Aural Exciter Yamaha 31 band stereo graphic EQ Ibanez 15 band graphic EQ ARP Quadra string synth Crumar Roadrunner piano

Daniel Woodgate's equipment list, from the September 1985 issue of International Musician:

Fostex A8 Roland MSQ700 Yamaha DX7 Yamaha RX11 Seck 18/8/2 mixing desk Korg SDD1000 delays x 2 Yamaha R1000 reverbs x 2 Boss CEII chorus x 2 MXR Phase 100 Revox A77 Sony Walkman Professional Hitachi DE7 cassette deck A pair of headphones... Bose Studiocraft monitors Fostex Personal monitors Aphex Aural Exciter Yamaha 31 band stereo graphic EQ Ibanez 15 band graphic EQ ARP Quadra string synth Crumar Roadrunner piano