David A. Stewart

"To anyone with Dave's attitude towards synthesis, MIDI must be a great source of satisfaction, and in fact on Here Comes That Sinking Feeling, there is a recognizable MIDI solo, comprised of the American Voyetra 8 synth, DX7 and an Emulator using a sitar-type sound."

Mentioned by Stewart in this Sound on Sound "Classic Tracks" interview about "Sweet Dreams (Are Made of This)".

On the same trip, in a hotel room in Wagga Wagga, New South Wales, Stewart began playing around with EDP’s Wasp synthesizer, accidentally stumbling upon the future, more electronic direction that he and Lennox were to pursue as Eurythmics. “I could actually get some interesting things happening,” he says. “Y’know, like, sequenced little sort of random hold patterns that sounded very exciting to us, even though it was just coming out of the plastic speaker in a crappy hotel room in Wagga Wagga. We weren’t even writing songs, I was just messing about on it.”

(...) Soon after, Lennox travelled to her native Scotland to visit her parents, leaving Stewart with time alone to further his experiments with the Wasp, pairing it with EDP’s matching proto-sequencer the Spider, and a TEAC 144 Portastudio. “I kind of voraciously learned how to use that really quickly,” he says of the latter, “and I realised it was little miracle. I had done things before, even before I met Annie actually, where I’d managed to get my hands on a Revox tape recorder, and I’d bounce things in a really crappy way, back and forth, and make a kind of montage of stuff.

“But with this Portastudio and the Wasp and the Spider sequencer, and then the [Roland TR-606] Drumatix, in one way or another I managed to manipulate the drums and the sequenced keyboard together. Then I was able to choose which sections I’d sequenced and sort of fly them over and bounce them. So I’m recording on track one with the sequencer, but then I’d sort of send it to track three or four and then I could switch it in and out when I didn’t want it. I could drop in if I wanted to change to a different chord or note or sequence. So I kinda built a track, kept bouncing back and forth. Some of them became the actual tracks on the Sweet Dreams album.”

"We just set up our gear like we did Sweet Dreams. I took it right back to the way we started and we wrote one song a day for ten days with the simplest things like the Roland SH09, Movement Audio Visual drum computer etc." It was these same tracks which made up the basis for the actual masters, since they subsequently brought over their Soundcraft 24 track, bouncing up from the eight track and adding horn parts. It was only after all this had been done that the jet set recording began.

According to this article, Dave Stewart's studio features a Soundcraft 2400 28/24 console.

David A. Stewart used the Roland Juno-6 in the recording of Eurythmics' "Sweet Dreams (Are Made of This)." In a 1983 interview on Countdown, available on YouTube, a Juno-60 is shown, which Dave acquired after the album's release.

According to Premier Guitar's rig rundown, Stewart also owns this guitar.

"To anyone with Dave's attitude towards synthesis, MIDI must be a great source of satisfaction, and in fact on Here Comes That Sinking Feeling, there is a recognizable MIDI solo, comprised of the American Voyetra 8 synth, DX7 and an Emulator using a sitar-type sound."

"I like mixing synths as well, like on Aqua, from the Touch album. There I've got a SH09 with a CSQ100, playing a bassline with just a sub bass, no other frequencies, so it's just a very round, resonant sound. But then I got an acoustic guitar and recorded the fret noise — just the top of the fret noise playing the same thing — and mixed the two together, and it sounds exactly like a double bass. That I find a lot more interesting than straight synthesiser sounds."

You can see the Juno-60 at 0:48 clearly.

A Farfisa TR60 is among the items auctioned from David Stewart's studio.

A Johnson Millennium Stereo 150 is among the items auctioned from David Stewart's studio.

Mentioned by Stewart in this Sound on Sound "Classic Tracks" interview about "Sweet Dreams (Are Made of This)".

On the same trip, in a hotel room in Wagga Wagga, New South Wales, Stewart began playing around with EDP’s Wasp synthesizer, accidentally stumbling upon the future, more electronic direction that he and Lennox were to pursue as Eurythmics. “I could actually get some interesting things happening,” he says. “Y’know, like, sequenced little sort of random hold patterns that sounded very exciting to us, even though it was just coming out of the plastic speaker in a crappy hotel room in Wagga Wagga. We weren’t even writing songs, I was just messing about on it.”

(...) Soon after, Lennox travelled to her native Scotland to visit her parents, leaving Stewart with time alone to further his experiments with the Wasp, pairing it with EDP’s matching proto-sequencer the Spider, and a TEAC 144 Portastudio. “I kind of voraciously learned how to use that really quickly,” he says of the latter, “and I realised it was little miracle. I had done things before, even before I met Annie actually, where I’d managed to get my hands on a Revox tape recorder, and I’d bounce things in a really crappy way, back and forth, and make a kind of montage of stuff.

“But with this Portastudio and the Wasp and the Spider sequencer, and then the [Roland TR-606] Drumatix, in one way or another I managed to manipulate the drums and the sequenced keyboard together. Then I was able to choose which sections I’d sequenced and sort of fly them over and bounce them. So I’m recording on track one with the sequencer, but then I’d sort of send it to track three or four and then I could switch it in and out when I didn’t want it. I could drop in if I wanted to change to a different chord or note or sequence. So I kinda built a track, kept bouncing back and forth. Some of them became the actual tracks on the Sweet Dreams album.”

Dave Stewart can be seen playing a Duesenberg Starplayer TV Mike Campbell Signature Edition in Live From Daryl's House in the song, Missionary Man.

According to Premier Guitar, Stewart used his Gretsch Country Club for his Eurythmics' days.

This was the top of the line model when first released and is very similar to the one Dave Stewart of the Eurythmics uses . This model was very expensive when new and was produced for only a couple of years in very limited numbers and was built as the perfect electro acoustic. This gorgeous electro acoustic was made in Japan and features a stunning quilted maple back and sides, as well as quilted maple arched top .

What sets this guitar apart from your standard electro acoustic is the unique pickup configuration which makes it the ideal live instrument . The electronics include a humbucker pick up disguised as the two last frets on the neck and piezo pickup under the bridge. The EQ allows you to select either or blend the two pickups . This guitar has two 1/4" jacks to giving you the option for stereo output or you can use either or both as you prefer .

On the accompanying photo of Dave Stewart's pedalboard the T-REX Replica can be seen.

On the accompanying photo of Dave Stewart's pedalboard the Demeter Tremulator can be seen. (Mislabeled by Premierguitar as a Texas Tremodillo...)

"1984 was nearly all Drawmer gates and very occasionally we'd sequence it. I'd write into the DMX a peculiar pattern on a rim shot (which gives the best trigger signal cause it's so short) and then I would play a guitar very distorted, and it goes chig chog chug gaa. And it's great because it sounds like no synth you've ever heard."

At 1:04, a Teac 80-8 can be seen in Dave's studio.

A Farfisa Compact Duo is among the items auctioned from David Stewart's studio.

A Yamaha CP-80 is among the items auctioned from David Stewart's studio.

A Yamaha DG-100 is among the items auctioned from David Stewart's studio.

A Mackie 24-8 is among the items auctioned from David Stewart's studio.

A PreSonus FireBox is among the items auctioned from David Stewart's studio.

Several Mac Pro towers are among the items auctioned from David Stewart's studio.

A Yamaha SPX-1000 is among the items auctioned from David Stewart's studio.

A Mackie CR-1604 mixer is among the items auctioned from David Stewart's studio.

A Roland SDE-3000 is among the items auctioned from David Stewart's studio.

A Roland JV-1080 is among the items auctioned from David Stewart's studio.

Mentioned by Stewart in this Sound on Sound "Classic Tracks" interview about "Sweet Dreams (Are Made of This)".

On the same trip, in a hotel room in Wagga Wagga, New South Wales, Stewart began playing around with EDP’s Wasp synthesizer, accidentally stumbling upon the future, more electronic direction that he and Lennox were to pursue as Eurythmics. “I could actually get some interesting things happening,” he says. “Y’know, like, sequenced little sort of random hold patterns that sounded very exciting to us, even though it was just coming out of the plastic speaker in a crappy hotel room in Wagga Wagga. We weren’t even writing songs, I was just messing about on it.”

(...) Soon after, Lennox travelled to her native Scotland to visit her parents, leaving Stewart with time alone to further his experiments with the Wasp, pairing it with EDP’s matching proto-sequencer the Spider, and a TEAC 144 Portastudio. “I kind of voraciously learned how to use that really quickly,” he says of the latter, “and I realised it was little miracle. I had done things before, even before I met Annie actually, where I’d managed to get my hands on a Revox tape recorder, and I’d bounce things in a really crappy way, back and forth, and make a kind of montage of stuff.

“But with this Portastudio and the Wasp and the Spider sequencer, and then the [Roland TR-606] Drumatix, in one way or another I managed to manipulate the drums and the sequenced keyboard together. Then I was able to choose which sections I’d sequenced and sort of fly them over and bounce them. So I’m recording on track one with the sequencer, but then I’d sort of send it to track three or four and then I could switch it in and out when I didn’t want it. I could drop in if I wanted to change to a different chord or note or sequence. So I kinda built a track, kept bouncing back and forth. Some of them became the actual tracks on the Sweet Dreams album.”