Mark Stanway

Mark Stanway is confirmed to use the Oxford Synthesizer Company OSCar, as evidenced by its appearance in a photo of him performing.

Mark Stanway uses the Yamaha DX7, as evidenced in the Killerwatt Magazine poster, where it is positioned above his Roland Juno-06.

Mark Stanway uses the Roland Juno-6, as evidenced in the Killerwatt Magazine poster, where it is positioned below his Yamaha DX7.

Mark Stanway is seen using the Kawai MP7 Professional Stage Piano (top tier) and the Kawai MP8 (bottom tier) keyboards live in a performance with Richard Bailey, as shown in the YouTube video titled "MARK STANWAY & RICHARD BAILEY (Ex Magnum) Live," published by Mark Stanway in 2018.

Mark Stanway is seen using the Kawai MP7 Professional Stage Piano (top tier) and the Kawai MP8 (bottom tier) keyboards live in a performance with Richard Bailey, as shown in the YouTube video titled "MARK STANWAY & RICHARD BAILEY (Ex Magnum) Live," published by Mark Stanway in 2018.

Mark Stanway is seen using the Korg M1 synthesizer live with Magnum at the 2 minute and 29 second mark of the YouTube video "Magnum - Sacred Hour (Birmingham Town Hall, 1992)" provided by Music On TV1.

Mark is seen using the Elka Synthex 43 seconds in this YouTube video of Magnum's "How Far Jerusalem".

Mark Stanway is seen using a Casio AZ-1 MIDI Controller Keyboard at the 15-second mark of the YouTube video titled "Magnum - extremely rare & un-released instrumental 'BLACK NIGHTS'," uploaded by Mark Stanway.

Mark is seen using a Roland D-50 at the 4 minute and 30 second mark of this YouTube video from his YouTube channel.

Mark Stanway is seen using a Korg CX-3 Organ with Spike (The Quireboys) at the 2015 Sweden Rock Festival, as evidenced at the 2 minutes and 10 seconds mark of a video titled "Spike's Free House from the 2015 Sweden Rock Festival perform 'Alright Now'" uploaded by Mark Stanway on YouTube.

Mark Stanway is seen using the Korg Triton Le61 keyboard at the 55-second mark of the YouTube live performance "Magnum - Just Like An Arrow - Live at London Astoria 2005 (HD)" uploaded by BrunoSamppa.

From "Electronics & Music Maker" February 1984, page 16:

Paul Wiffen: What are you using at the moment?

Mark Stanway: Well I swear by the Oberheim (OB-Xa, the one with 120 memories). It holds its tuningso well and it's never let me down. When I was in Sweden last month, I used the new OB-8 (reviewed in this issue) and it's got a few developments which are really good so I wouldn't mind moving up to that one. I think they ought to give me one really, but I suppose I'll have to fork out.

Paul Wiffen: What is your set up?

Mark Stanway: Well from the left round I've got Mellotron - still. It's a dear old instrument. I only use it on one track in the current (Magnum) set, just for the male voices which I can't get from anything else.

On top of that I've got the Korg organ, the BX-3. You see, I don't play enough organ in the show to warrant lugging a Hammond B3 about, and this is the nearest I can get to ne. It's a great thing, so compact but with a really full sound.

On top of that I have a Roland string machine, one of the old ones, the RS -202. I still use it in the studio, on the most recent Magnum for example (the Eleventh Hour - reviewed in E&MM Aug 83) and I'll continue to use it, 'cos it's got a great sound. I get a very thin sharp tone out of it, and using volume pedals and studio tricks on it, I can get it direct on one channel, with the delay panned to the other side.

Authored by Paul Wiffen.

From "Electronics & Music Maker" February 1984, page 16:

Paul Wiffen: What are you using at the moment?

Mark Stanway: Well I swear by the Oberheim (OB-Xa, the one with 120 memories). It holds its tuningso well and it's never let me down. When I was in Sweden last month, I used the new OB-8 (reviewed in this issue) and it's got a few developments which are really good so I wouldn't mind moving up to that one. I think they ought to give me one really, but I suppose I'll have to fork out.

Paul Wiffen: What is your set up?

Mark Stanway: Well from the left round I've got Mellotron - still. It's a dear old instrument. I only use it on one track in the current (Magnum) set, just for the male voices which I can't get from anything else.

On top of that I've got the Korg organ, the BX-3. You see, I don't play enough organ in the show to warrant lugging a Hammond B3 about, and this is the nearest I can get to ne. It's a great thing, so compact but with a really full sound.

On top of that I have a Roland string machine, one of the old ones, the RS -202. I still use it in the studio, on the most recent Magnum for example (the Eleventh Hour - reviewed in E&MM Aug 83) and I'll continue to use it, 'cos it's got a great sound. I get a very thin sharp tone out of it, and using volume pedals and studio tricks on it, I can get it direct on one channel, with the delay panned to the other side.

Authored by Paul Wiffen.

From "Electronics & Music Maker" February 1984, page 16:

Paul Wiffen: What are you using at the moment?

Mark Stanway: Well I swear by the Oberheim (OB-Xa, the one with 120 memories). It holds its tuningso well and it's never let me down. When I was in Sweden last month, I used the new OB-8 (reviewed in this issue) and it's got a few developments which are really good so I wouldn't mind moving up to that one. I think they ought to give me one really, but I suppose I'll have to fork out.

Paul Wiffen: What is your set up?

Mark Stanway: Well from the left round I've got Mellotron - still. It's a dear old instrument. I only use it on one track in the current (Magnum) set, just for the male voices which I can't get from anything else.

On top of that I've got the Korg organ, the BX-3. You see, I don't play enough organ in the show to warrant lugging a Hammond B3 about, and this is the nearest I can get to ne. It's a great thing, so compact but with a really full sound.

On top of that I have a Roland string machine, one of the old ones, the RS -202. I still use it in the studio, on the most recent Magnum for example (the Eleventh Hour - reviewed in E&MM Aug 83) and I'll continue to use it, 'cos it's got a great sound. I get a very thin sharp tone out of it, and using volume pedals and studio tricks on it, I can get it direct on one channel, with the delay panned to the other side.

Authored by Paul Wiffen.

From "Electronics & Music Maker" February 1984, page 16:

Paul Wiffen: I noticed on a couple of tracks on 'The Eleventh Hour' you got a great string sound, almost like a string quartet. Was that the Roland?

Mark Stanway: No, that was an Emulator, which we hired. That's a wonderful tool. I don't use one on the road, but the guy from Marillion (Mark Kelly - interviewed E&MM July 83) does and he's got whole string parts stored in thesequencer. I could quite get into that, it would leave me free to play the 'real' keyboard parts.

Then in front of me I've got the CP70 (Yamaha Electric Grand), and if you want a grand piano sound on the road, it's the only one to use. I've heard some good things about the Kawai, but I haven't tried one yet.

On top of the Yamaha, I've got the OB-Xa and I'm currently using a MicroMoog on top of that, which I use for bass riffs. It's very quick and easy to change sounds on.

Then on my right I've got the MiniMoog and another MicroMoog, which I use for wind noises, effects and things like that. It's rather convenient as it saves me doing too many sound changes in the set. Perhaps it's a bit of a luxury to double keyboards but it makes you more relaxed. Obviously the ideal thing would be if all the synths had programs. I'm working towards that but this is more comfortable for the moment.

I've just worked a deal out with Studiomaster. They're building me one of their desks, the 16 into 16, into a flight case, and I'll also be able to use it at home in a Portastudio situation. It's a great desk and it's actually designed to take a patch -field as well. Alongside that that they're ,providing me with their new MOS-FET amps, 500W power amps which will be the crossover that powers my back line.

Authored by Paul Wiffen.

From "Electronics & Music Maker" February 1984, page 16:

Paul Wiffen: I noticed on a couple of tracks on 'The Eleventh Hour' you got a great string sound, almost like a string quartet. Was that the Roland?

Mark Stanway: No, that was an Emulator, which we hired. That's a wonderful tool. I don't use one on the road, but the guy from Marillion (Mark Kelly - interviewed E&MM July 83) does and he's got whole string parts stored in thesequencer. I could quite get into that, it would leave me free to play the 'real' keyboard parts.

Then in front of me I've got the CP70 (Yamaha Electric Grand), and if you want a grand piano sound on the road, it's the only one to use. I've heard some good things about the Kawai, but I haven't tried one yet.

On top of the Yamaha, I've got the OB-Xa and I'm currently using a MicroMoog on top of that, which I use for bass riffs. It's very quick and easy to change sounds on.

Then on my right I've got the MiniMoog and another MicroMoog, which I use for wind noises, effects and things like that. It's rather convenient as it saves me doing too many sound changes in the set. Perhaps it's a bit of a luxury to double keyboards but it makes you more relaxed. Obviously the ideal thing would be if all the synths had programs. I'm working towards that but this is more comfortable for the moment.

I've just worked a deal out with Studiomaster. They're building me one of their desks, the 16 into 16, into a flight case, and I'll also be able to use it at home in a Portastudio situation. It's a great desk and it's actually designed to take a patch -field as well. Alongside that that they're ,providing me with their new MOS-FET amps, 500W power amps which will be the crossover that powers my back line.

Authored by Paul Wiffen.

From "Electronics & Music Maker" February 1984, page 16:

Paul Wiffen: I noticed on a couple of tracks on 'The Eleventh Hour' you got a great string sound, almost like a string quartet. Was that the Roland?

Mark Stanway: No, that was an Emulator, which we hired. That's a wonderful tool. I don't use one on the road, but the guy from Marillion (Mark Kelly - interviewed E&MM July 83) does and he's got whole string parts stored in thesequencer. I could quite get into that, it would leave me free to play the 'real' keyboard parts.

Then in front of me I've got the CP70 (Yamaha Electric Grand), and if you want a grand piano sound on the road, it's the only one to use. I've heard some good things about the Kawai, but I haven't tried one yet.

On top of the Yamaha, I've got the OB-Xa and I'm currently using a MicroMoog on top of that, which I use for bass riffs. It's very quick and easy to change sounds on.

Then on my right I've got the MiniMoog and another MicroMoog, which I use for wind noises, effects and things like that. It's rather convenient as it saves me doing too many sound changes in the set. Perhaps it's a bit of a luxury to double keyboards but it makes you more relaxed. Obviously the ideal thing would be if all the synths had programs. I'm working towards that but this is more comfortable for the moment.

I've just worked a deal out with Studiomaster. They're building me one of their desks, the 16 into 16, into a flight case, and I'll also be able to use it at home in a Portastudio situation. It's a great desk and it's actually designed to take a patch -field as well. Alongside that that they're ,providing me with their new MOS-FET amps, 500W power amps which will be the crossover that powers my back line.

Authored by Paul Wiffen.

Mark Stanway is seen using a Roland JX-10 Super JX with Magnum at the 22-minute and 24-second mark in the YouTube video titled "Magnum - Live At Arena Festival, Weissensee Berlin 17-06-1990" by Ivan NWOBHM.

Mark Stanway is seen using a Korg M50 61-Key Music Workstation with Magnum at the 56-second mark in the YouTube video titled "Magnum - Live At High Voltage 2010" by Ivan NWOBHM.