Guy E. Fletcher

"Well, I have already mentioned many of the keyboards I use and they are the same ones I have at home. In addition, I've got an Emulator SP12 drum machine and an OSCar mono synth. Everything is routed to one of my two mixers, either the Seck 1882 or an Alice 12 into 2, and all the recording is done on a Fostex B-16. I've just bought one of those new Fostex 4050 Autolocators which allow SMPTE to MIDI control, so I'm looking forward to using that when I get a chance."

"The studio monitoring is via an HH amp which powers a pair of Tannoys and I've got a number of signal processors including two Yamaha SPX90 multi-effects, an Alesis XT digital reverb, Roland and Korg digital delays and a Drawmer gate. And I have the Atari computer with the Steinberg Pro-24 sequencer software as well."

"On my side of the stage I've got the Synclavier, which is used mostly for string and voice sounds as well as the pure tones. For example, the intro to 'Money For Nothing' is played on the Synclavier sequencer. My other main keyboard is the Yamaha DX1. I love that synth, it's definitely one of the greatest keyboards around. You obviously have to know a lot about programming to use it properly, and it is very complicated, but if you can grasp the system it's really lovely."

"A Yamaha 12-channel mixer received signal input from Guy Fletcher’s two Roland Jupiter synthesizers, Solina string synthesizer, Korg organ, Yamaha CP-80 electric piano, and Wurlitzer electric piano. The resultant mix was processed through a Roland SDE-2000 delay unit, and then sent to the house and monitor consoles. Additionally, a direct input was taken on each individual keyboard instrument to ensure clean signals at the desks."

"Anyway, I had this Jupiter 8 which Bryan Ferry had always liked the sound of. In fact, I used two of them on stage for Roxy's Avalon tour. So most of the keyboard work that I was asked to play on the Boys and Girls album was Jupiter 8 synth... plus a little DX7."

"Anyway, I had this Jupiter 8 which Bryan Ferry had always liked the sound of. In fact, I used two of them on stage for Roxy's Avalon tour. So most of the keyboard work that I was asked to play on the Boys and Girls album was Jupiter 8 synth... plus a little DX7."

"On my side of the stage I've got the Synclavier, which is used mostly for string and voice sounds as well as the pure tones. For example, the intro to 'Money For Nothing' is played on the Synclavier sequencer. My other main keyboard is the Yamaha DX1. I love that synth, it's definitely one of the greatest keyboards around. You obviously have to know a lot about programming to use it properly, and it is very complicated, but if you can grasp the system it's really lovely."

"For studio work on Dire Straits projects I use a similar set-up, the main keyboards again being the DX1, Emulator II, Jupiter 8, the DX7 and Synclavier, and they are supplemented by a Jupiter 6, TX7, and a new Roland Super JX."

Listed on Reverend's website for having this guitar.

"The studio monitoring is via an HH amp which powers a pair of Tannoys and I've got a number of signal processors including two Yamaha SPX90 multi-effects, an Alesis XT digital reverb, Roland and Korg digital delays and a Drawmer gate. And I have the Atari computer with the Steinberg Pro-24 sequencer software as well."

"A Yamaha 12-channel mixer received signal input from Guy Fletcher’s two Roland Jupiter synthesizers, Solina string synthesizer, Korg organ, Yamaha CP-80 electric piano, and Wurlitzer electric piano. The resultant mix was processed through a Roland SDE-2000 delay unit, and then sent to the house and monitor consoles. Additionally, a direct input was taken on each individual keyboard instrument to ensure clean signals at the desks."

"Getting back to my live keyboard set-up, I also use an Emulator II, DX7, Jupiter 8 and a Korg CX-3. I do all my own keyboard mixing on stage and just send the PA a stereo mix of my sound because I like to keep control of what's going on. Effects-wise, I use a few digital reverbs and a couple of digital delays, that's all really. I don't use any MIDI facility on the road."

"Getting back to my live keyboard set-up, I also use an Emulator II, DX7, Jupiter 8 and a Korg CX-3. I do all my own keyboard mixing on stage and just send the PA a stereo mix of my sound because I like to keep control of what's going on. Effects-wise, I use a few digital reverbs and a couple of digital delays, that's all really. I don't use any MIDI facility on the road."

"For studio work on Dire Straits projects I use a similar set-up, the main keyboards again being the DX1, Emulator II, Jupiter 8, the DX7 and Synclavier, and they are supplemented by a Jupiter 6, TX7, and a new Roland Super JX."

"For studio work on Dire Straits projects I use a similar set-up, the main keyboards again being the DX1, Emulator II, Jupiter 8, the DX7 and Synclavier, and they are supplemented by a Jupiter 6, TX7, and a new Roland Super JX."

"For the work Mark and I are currently doing on Tina Turner's new album, we're also using the Emulator SP12 drum machine, Linn 9000, and the new Pro-24 software from Steinberg Research which runs on the Atari computer."

"For the work Mark and I are currently doing on Tina Turner's new album, we're also using the Emulator SP12 drum machine, Linn 9000, and the new Pro-24 software from Steinberg Research which runs on the Atari computer."

"Well, I have already mentioned many of the keyboards I use and they are the same ones I have at home. In addition, I've got an Emulator SP12 drum machine and an OSCar mono synth. Everything is routed to one of my two mixers, either the Seck 1882 or an Alice 12 into 2, and all the recording is done on a Fostex B-16. I've just bought one of those new Fostex 4050 Autolocators which allow SMPTE to MIDI control, so I'm looking forward to using that when I get a chance."

"Well, I have already mentioned many of the keyboards I use and they are the same ones I have at home. In addition, I've got an Emulator SP12 drum machine and an OSCar mono synth. Everything is routed to one of my two mixers, either the Seck 1882 or an Alice 12 into 2, and all the recording is done on a Fostex B-16. I've just bought one of those new Fostex 4050 Autolocators which allow SMPTE to MIDI control, so I'm looking forward to using that when I get a chance."

"The studio monitoring is via an HH amp which powers a pair of Tannoys and I've got a number of signal processors including two Yamaha SPX90 multi-effects, an Alesis XT digital reverb, Roland and Korg digital delays and a Drawmer gate. And I have the Atari computer with the Steinberg Pro-24 sequencer software as well."

On this article and on the Arturia website, Guy Fletcher claimed to use V Collection 8 and his favorite synthesiser is CS80 V.

From 1985 Sound on Sound interview, which describe his studio (Havoc House).

The control room is dominated by the monitor array of four Tannoy HPD drivers in huge enclosures set each side of the console tape machines; an early Studer A80 16 track and an Ampex ATR 102 (the half-inch version of the ATR 100). Other machines sit on shelves - cassette recorders and a bank of Sony F1 chargers, processors and recorders.

From 1985 Sound on Sound interview, which describe his studio (Havoc House).

The control room is dominated by the monitor array of four Tannoy HPD drivers in huge enclosures set each side of the console tape machines; an early Studer A80 16 track and an Ampex ATR 102 (the half-inch version of the ATR 100). Other machines sit on shelves - cassette recorders and a bank of Sony F1 chargers, processors and recorders.

From 1985 Sound on Sound interview, which describe his studio (Havoc House).

Alongside the walls are purpose made tables supporting the array of synthesizers: a PPG Wave 2 and a Wave 2.2 complete with the Waveterm computer, a DX7, a Linn LM2, an Emulator and some elderly keyboard instruments of indeterminate vintage. The synths are connected to the main desk patchfield via a sub-field dedicated to ancillaries. MIDI wiring is strung around as the production requires it.

From 1985 Sound on Sound interview, which describe his studio (Havoc House).

Alongside the walls are purpose made tables supporting the array of synthesizers: a PPG Wave 2 and a Wave 2.2 complete with the Waveterm computer, a DX7, a Linn LM2, an Emulator and some elderly keyboard instruments of indeterminate vintage. The synths are connected to the main desk patchfield via a sub-field dedicated to ancillaries. MIDI wiring is strung around as the production requires it.

From 1985 Sound on Sound interview, which describe his studio (Havoc House).

The reverb system is a Lexicon 224 complete with all the programs that are available in California (it's useful this globetrotting). Digital delay is provided by a number of units; a Lexicon PCM42, an MXR and a few budget units that are pressed into service when everything else is in use. The noise gates are Drawmer, M Guy will use nothing else. MXR equipment is also used for harmonising and flanging, being simple to use, effective and not over-costly.