Kate Pierson

Kate Pierson used a Farfisa Compact Deluxe in the original B-52's lineup. The organ is featured on many of the band’s hits, such as “Planet Claire” and “Rock Lobster.”

In 2015, she posted this photo of her organ on Facebook with the caption, “Original B52s Farfisa organ getting tuneup.” In the comments, she wrote, “This is the original we used in 'planet claire' and all songs on first record - the bass parts on this too.”

The same organ was on display at The Met starting in 2019. The display’s plaque read:

Combo Compact Deluxe, Farfisa (Italian)

Kate Pierson, ca. 1964–1968

The Farfisa company, originally a maker of accordions, began manufacturing transistor organs in Italy in the early 1960s before transitioning to synthesizers in the 1970s. Sam the Sham was one of the earliest rock organists to play a Farfisa; his group the Pharaohs recorded their hit “Wooly Bully” with one in 1965. This organ belongs to Kate Pierson of the B-52’s, who used it to record songs such as “Planet Claire” and “Rock Lobster.” The organ’s bright and warbly tone contributed to the band’s eccentric flair. Other notable bands who incorporated the Farfisa include Led Zeppelin, Pink Floyd, and Sly and the Family Stone.

Kate Pierson's Korg Synthe-Bass was one of the keyboards that shaped the sound of the B-52's' early work. Kate's Synthe-Bass would sit on top of one of her combo organs, and she would use it to play basslines. Kate used the Synthe-Bass from 1978-1980, and it was played on the albums "The B-52's" and "Wild Planet". It can be seen throughout the linked video on top of Kate's Yamaha YC-30.

Sometime during the recording sessions for their 1982 EP "Mesopotamia", the B-52's acquired a Roland Jupiter-8 synthesizer. The Jupiter-8 became Kate's main keyboard, and thus the duties of the Synthe-Bass and organ were passed down to it. However, the B-52's did not stop using the Synthe-Bass.

During live performances from 1982-1985, the Synthe-Bass was moved to stage right and only used whenever bass parts needed to be doubled for whatever reason; it was used in this manner by Cindy Wilson on "Private Idaho" and Fred Schneider on "Give Me Back My Man".

The Synthe-Bass also appeared the music video for "Legal Tender" in 1983.

During the Meso-America tour in 1982, Kate switched from using her Farfisa organ and her separate synth bass to using the Jupiter-8 to reproduce the bass and organ parts simultaneously, as well as the more advanced sounds from the Mesopotamia EP, on one sophisticated keyboard. During the Whammy! tour from 1983-1985, she shared this instrument with fellow band member Keith Strickland, who on some songs would come down from the drum kit to play guitars and bass and synth parts on this instrument while drum machines from the Whammy! songs played, allowing Kate to focus on vocals and simple choreography.

In a comment on her page showcasing her Farfisa organ, Kate mentioned that Keith now has the instrument. Keith mentioned on a comment on his Facebook post that he has had it retrofitted with MIDI and uses it as a sound source for his compositions.

You can see Kate using a Yamaha DX7 in this video

Kate Pierson used to play guitar with the band as well as organ/keyboard. Usually for a few songs, most notably "52' Girls" (Fred Schneider would play the Farfisa on that song). This guitar was unique to Kate as I've not seen a single member of the B-52's use it, including Ricky. I don't know if Kate was using custom tunings or E standard tuning.

In a live performance video of The B-52's at The Majestic Ventura Theater on February 9, 2013, Kate Pierson expresses her enthusiasm for the Kurzweil PC361, highlighting its ability to replicate the iconic sounds of the Farfisa, Vox Panther, and Jupiter 8. She praises it as an "all-in-one wonder" and appreciates its simple and sleek design.

Here's Kate Pierson playing a custom-shop Larrivee RS series guitar. It looks to be a custom shop model with a Piezo pickup system.

The photo shows Kate with a Gibson Hummingbird.

Used for vocals on the songs Don Was produced for Cosmic Thing and on Funplex, as stated in the following Mix Online interviews.

Mix Online, April 2008, “Steve Osborne” by Barbara Schultz

How do you capture those amazing female vocal harmonies?

Cindy [Wilson] and Kate [Pierson] would always be in a studio together, and we would record them that way because there would be interplay. Kate has her own [Neumann] M249, and Cindy uses a U87.

Mix Online, July 2012, “Classic Tracks: The B-52s, ‘Love Shack’” by Barbara Schultz

All of the Was-produced tracks were recorded analog, to a Studer A80 machine, using the studio’s early ’70s vintage API console. “I used Neumann U 87s on all of the vocals,” Cook recalls. “All the preamps were on board, in the console. I used a couple of Pultecs on drums, and probably dbx 160s on their vocals; [Shure SM] 57s on guitar amps and a Neumann U 47 fet on the bass amp, as well as a DI. The biggest challenge was to get the vocals isolated so we could get all the punches we needed. Later we would do doubles and fixes, and add the horns. I remember we listened very quietly on Auratones while doing vocals. Don was very focused on the vocals, and he heard pitch best when he listened quietly on small speakers. It is a method I’ve used myself ever since.”