John Foxx

"I sold two TB303s, my utterly beautiful Roland 808 drum machine, my Minimoog, my magnificent Jupiter 8, analogue phasers, flangers, a glorious Marshall fuzzbox. What a damn fool.

Luckily, I kept the 909 drum machine (best bass drum ever invented), the ARP Odyssey, the Gibson Les Paul, the Strat, the valve amps — and that little bastard wonder the [Roland] CR78."

"I sold two TB303s, my utterly beautiful Roland 808 drum machine, my Minimoog, my magnificent Jupiter 8, analogue phasers, flangers, a glorious Marshall fuzzbox. What a damn fool.

Luckily, I kept the 909 drum machine (best bass drum ever invented), the ARP Odyssey, the Gibson Les Paul, the Strat, the valve amps — and that little bastard wonder the [Roland] CR78."

"I sold two TB303s, my utterly beautiful Roland 808 drum machine, my Minimoog, my magnificent Jupiter 8, analogue phasers, flangers, a glorious Marshall fuzzbox. What a damn fool.

Luckily, I kept the 909 drum machine (best bass drum ever invented), the ARP Odyssey, the Gibson Les Paul, the Strat, the valve amps — and that little bastard wonder the [Roland] CR78."

"In 1983 we used a Roland MC8 for recording some Golden Section tracks with Mike Howlett. ‘Twilight’s Last Gleaming’, for instance, was almost entirely sequenced by that. Mike was quick and efficient at programming it. I tried it out and ended up hating the damn thing.

Then a Commodore 64 with Steinberg [Pro-16] when I was working with Tim Simenon [Bomb The Bass], then with Louis Gordon. Most of Shifting City and the next couple of albums were recorded using that system. It was good, straightforward and the triggering was bang on, for the time.

Overlapping this, I got a well‑designed and very useful all‑in‑one PC‑based system from Carillon, using Cubase, then finally went over to Logic on the Mac. As for present‑day sequencing and arranging, I really like the symbiosis of digital and analogue. You’re finally able to mix the beauty, richness and deviance of analogue with the stability and precision of digital."

"In 1983 we used a Roland MC8 for recording some Golden Section tracks with Mike Howlett. ‘Twilight’s Last Gleaming’, for instance, was almost entirely sequenced by that. Mike was quick and efficient at programming it. I tried it out and ended up hating the damn thing.

Then a Commodore 64 with Steinberg [Pro-16] when I was working with Tim Simenon [Bomb The Bass], then with Louis Gordon. Most of Shifting City and the next couple of albums were recorded using that system. It was good, straightforward and the triggering was bang on, for the time.

Overlapping this, I got a well‑designed and very useful all‑in‑one PC‑based system from Carillon, using Cubase, then finally went over to Logic on the Mac. As for present‑day sequencing and arranging, I really like the symbiosis of digital and analogue. You’re finally able to mix the beauty, richness and deviance of analogue with the stability and precision of digital."

"In 1983 we used a Roland MC8 for recording some Golden Section tracks with Mike Howlett. ‘Twilight’s Last Gleaming’, for instance, was almost entirely sequenced by that. Mike was quick and efficient at programming it. I tried it out and ended up hating the damn thing.

Then a Commodore 64 with Steinberg [Pro-16] when I was working with Tim Simenon [Bomb The Bass], then with Louis Gordon. Most of Shifting City and the next couple of albums were recorded using that system. It was good, straightforward and the triggering was bang on, for the time.

Overlapping this, I got a well‑designed and very useful all‑in‑one PC‑based system from Carillon, using Cubase, then finally went over to Logic on the Mac. As for present‑day sequencing and arranging, I really like the symbiosis of digital and analogue. You’re finally able to mix the beauty, richness and deviance of analogue with the stability and precision of digital."