Jon Marsh

In an article titled "The Beloved" from Sound On Sound (March 1993), Jon Marsh mentioned, "The most daunting thing was the S1100 and the whole C-Lab package with the Atari. Now I look back and it's like anything; you learn how to do it, it becomes second nature and you become very fast and adept at doing it. What was really good was that both me and Helena set the gear up and we got to understand it together." This confirms that Jon Marsh used the Akai S1100.

Jon Marsh uses the Neumann U87 microphone, as he explained in an interview with Sound On Sound in March 1993: "We always use a Neumann, a U87. It's very warm and very responsive. Because I'm singing so soft you can go right up on it, but it has created massive problems for doing live stuff and I'm still trying to find a way to do these live TV shows." This statement confirms his preference for the U87 due to its warmth and responsiveness, particularly in studio settings.

"We use a Korg T3 as a master keyboard. We've bought a lot of disks for it and still use a lot of the sounds. Some can be boring, but it's an easy machine to edit even though it's not very immediate. There's an old Juno 60 MIDI'd up, which we use an awful lot. That's my favourite thing in the world, mainly because it's the first synth I had. It's so hands-on — slide the sliders and away you go. Then there's an 808, a Prophet VS — which is very good, but it's difficult getting hold of cartridges for it — and a MiniMoog that we use on nearly all the bass sounds and quite a lot of the sequences."

"We use a Korg T3 as a master keyboard. We've bought a lot of disks for it and still use a lot of the sounds. Some can be boring, but it's an easy machine to edit even though it's not very immediate. There's an old Juno 60 MIDI'd up, which we use an awful lot. That's my favourite thing in the world, mainly because it's the first synth I had. It's so hands-on — slide the sliders and away you go. Then there's an 808, a Prophet VS — which is very good, but it's difficult getting hold of cartridges for it — and a MiniMoog that we use on nearly all the bass sounds and quite a lot of the sequences."

"We use a Korg T3 as a master keyboard. We've bought a lot of disks for it and still use a lot of the sounds. Some can be boring, but it's an easy machine to edit even though it's not very immediate. There's an old Juno 60 MIDI'd up, which we use an awful lot. That's my favourite thing in the world, mainly because it's the first synth I had. It's so hands-on — slide the sliders and away you go. Then there's an 808, a Prophet VS — which is very good, but it's difficult getting hold of cartridges for it — and a MiniMoog that we use on nearly all the bass sounds and quite a lot of the sequences."

"We use a Korg T3 as a master keyboard. We've bought a lot of disks for it and still use a lot of the sounds. Some can be boring, but it's an easy machine to edit even though it's not very immediate. There's an old Juno 60 MIDI'd up, which we use an awful lot. That's my favourite thing in the world, mainly because it's the first synth I had. It's so hands-on — slide the sliders and away you go. Then there's an 808, a Prophet VS — which is very good, but it's difficult getting hold of cartridges for it — and a MiniMoog that we use on nearly all the bass sounds and quite a lot of the sequences."

"We use a Korg T3 as a master keyboard. We've bought a lot of disks for it and still use a lot of the sounds. Some can be boring, but it's an easy machine to edit even though it's not very immediate. There's an old Juno 60 MIDI'd up, which we use an awful lot. That's my favourite thing in the world, mainly because it's the first synth I had. It's so hands-on — slide the sliders and away you go. Then there's an 808, a Prophet VS — which is very good, but it's difficult getting hold of cartridges for it — and a MiniMoog that we use on nearly all the bass sounds and quite a lot of the sequences."

Jon Marsh, as cited in the March 1993 issue of Sound On Sound magazine, mentioned, "We've also got an ARP 2600, a grey faced one — I still haven't managed to get a sound out of the ARP that I'm prepared to commit to tape. Hopefully I'll have enough time to sit down and really get to grips with it. But it just looks fantastic and is worth having as a museum piece," indicating his ownership and use of the ARP 2600 synthesizer.

"Then there's a couple of cheesy synths. like a Yamaha DX100, which again for bass sounds is fantastic — cheap and cheerful, but very good and dirty. Finally there's a Casio CZ101, again for a couple of the basses and organ sounds, which we didn't use on any of the album stuff but for club stuff is really, really good."

"Then there's a couple of cheesy synths. like a Yamaha DX100, which again for bass sounds is fantastic — cheap and cheerful, but very good and dirty. Finally there's a Casio CZ101, again for a couple of the basses and organ sounds, which we didn't use on any of the album stuff but for club stuff is really, really good."

"We took the original vocal and used the S1000 to sample every line and then time-stretch it up to 118bpm. Jon isn't too happy with it because it's lost a certain human quality from the singing, and I'm not sure if it's something we'll attempt again. It's frustrating sometimes when you come to do a remix and it's going really well and you think you could turn it into a whole new song, but as long as the ideas keep coming we'll keep remixing them."

Jon Marsh has confirmed the use of the Roland TB-303 Bassline, as cited in the article "Loved" from Music Technology (January 1990). Marsh stated, "We've got a TB303 Bassline, and we've hired in all sorts of equipment in various studios," indicating the TB-303's presence among the synthesizers and equipment employed in his musical work.

"The keyboards we've used most lately are the Juno and a Minimoog, with a bit of Prophet and D50 thrown in. There are a lot of old synths that we would like to get hold of, now we can actually afford to buy equipment. When a new keyboard comes out everybody goes out and gets it and is using those sounds, so it's nice to get hold of something a bit different."