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."

"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."

"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."

"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."

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 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.