Peter Gabriel

"For Gabriel's voice, Chappell often used a Sony C800 valve mic in combination with a Shure SM58, run through external mic amps like the Amek or Neve," this article states.

This article states that Gabriel uses a Shure SM58 microphone for recording vocals.

In this 1982 documentary on the making of Gabriel's fourth album, we see a shot of several pieces of gear set up in his then-home studio. At the 13:49 mark, there's a clear shot of Peter singing into his SM-57.

Gabriel uses a CP80 in this 1978 performance on Rockpalast. Peter can be seeing playing it at 17:50. Confirmation of this being a CP80 can be found when his bandmate plays it at 8:39 and 25:30.

This article states that Gabriel used a Kurzweil K2000.

This Sound On Sound article states that Gabriel owns a Clavia Nord Lead.

In this Sound On Sound article, it is stated that Gabriel owns a Kurzweil K2600.

At the beginning of this article, there is a photo of Gabriel with a Firelight, as the caption underneath confirms.

In this Sound On Sound article, it reads, "'The live room had a PA system that we also used as an echo chamber,' Killen recalls, 'and the control room was where Peter had his keyboards — an Emulator, a Fairlight, a Prophet 5 and a Yamaha CP70 — in addition to some percussion instruments and a bunch of guitars.'"

"It's only in uncertainty that we're naked and alive". Peter Gabriel

"The only new things were the Emulator II and the Linn 9000, though I didn't have time to get into the Linn properly before I started recording. Part of the catch with these things is that you do need time to get to know them. If the equipment arrives after you've started recording, you have to take it out of the studio to get to grips with it, which I didn't feel like doing in this instance."

"There's one synth that I'd used a little bit on my first album, but which Daniel Lanois re-introduced me to, and that is the Yamaha CS80. It has a great breathiness to it — human breath and its musical uses have always fascinated me — and a kind of organic character which I like."

In this transcription of a 1987 interview, Gabriel is asked about his use of technology in making music.

"But you can't see any advantage for your music in getting down there, into all the bits and bytes?

"I can see some advantages, but I'm a jack-of-all-trades and there are more basic skills which I wish to acquire first. For instance, I have this Fairlight CVI video synthesizer and my next project, when I get some time, will be to learn that. Then it will be to learn the Fairlight CMI Series III."

In this video tour of Gabriel's writing room at his Real World Studios, engineer Dicky Chappell is showing the camera man around the main work space. In the center hangs an LK-44, which Chappell explains (from the 8:37 mark onward) is used to quickly play back MIDI that is captured during Gabriel's writing sessions.

This blog entry on the iZotope website indicates that their software is used at Gabriel's Real World Studios. It says, "We recently found out that iZotope’s RX 4 audio enhancement and repair software is now a staple toolkit in Real World Studio’s post-production set-up since the team saw the impressive results Peter Gabriel’s engineer Dickie Chappell had produced when he used RX to clean up some old recordings."

"Peter had brought most of his normal writing setup to these places. This includes an Akai MPC3000 or MPC60 -- he likes to have a modular drum machine," says Chappel, in this article.

This Sound On Sound article states,"Peter's original demos of his songs had consisted of a Linn 9000 drum pattern and chord progressions on the Prophet 5 or CP70..."

"In the end we got so fed up with it that we hired in a Mitsubishi 32-track digital, which had sufficient tracks for us to do everything on one reel. The Mitsubishi worked well for us. I'd love to do an A-B against the Sony system."

"The album wasn't mastered digitally. We started off working with a Sony PCM-F1, but we had some problems putting clicks on it, and the half-inch analogue proved more reliable, so we used that."

In this 1982 documentary on the making of Gabriel's fourth album, we see a shot of several pieces of gear set up in his then-home studio. At the 10:57 mark, there's a clear shot of the RMX16 reverb unit.

In this 1982 documentary on the making of Gabriel's fourth album, we see a shot of several pieces of gear set up in his then-home studio. At the 10:49 mark, there's a clear shot of his CR-78.

In this 1982 documentary on the making of Gabriel's fourth album, we see a shot of several pieces of gear set up in his then-home studio. At the 10:50 mark, there's a clear shot of the 15-80S delay unit.

In this 1982 documentary on the making of Gabriel's fourth album, we see a shot of several pieces of gear set up in his then-home studio. At the 10:52 mark, there's a clear shot of the Acousticomputer unit.

In this 1982 documentary on the making of Gabriel's fourth album, we see a shot of several pieces of gear set up in his then-home studio. At the 11:04 mark, there's a clear shot of the LM-1.

At the start of this Sound On Sound article, the right of the photo shows a Friend Chip SRC SMPTE Reading Clock on top of Peter Gabriel's Fairlight CMI.