Richard H. Kirk

Nowadays the Western Works is furnished with machines of an altogether different calibre. The workhorse is E-mu's SP12 sampling drum machine, which Kirk used to sample and sequence up most of the rhythm tracks for Code. Further sampling power is provided by the Emax, sequenced by the Korg SQD1 which is synced to the SP12 and a trusty TR808 with a Roland SBX90. And if this little lot isn't enough, an adjoining room contains an Alpha Juno 2 and a DX7 to be called upon when required: usually to provide synth bass samples for the SP12. With a six-foot high rack of effects to one side of the mixing desk and a 2" 24-track machine to the side of that, the Cabs have everything they need to produce master quality recordings just as and when it suits them.

Richard Kirk is holding an EMS - Synthi A in this picture.

Richard's keyboard in this picture has the words "Juno-106" on it (hard to read, but definitely there).

"I'd got a Roland CSQ-100 Sequencer and a Roland SH09 Synth and a TR-808. I’d had the 808 for a while and not really used it but I was noticing that people were using them on these electro records. I was writing stuff on the sequencer and drum machine and we’d build stuff around that."

Nowadays the Western Works is furnished with machines of an altogether different calibre. The workhorse is E-mu's SP12 sampling drum machine, which Kirk used to sample and sequence up most of the rhythm tracks for Code. Further sampling power is provided by the Emax, sequenced by the Korg SQD1 which is synced to the SP12 and a trusty TR808 with a Roland SBX90. And if this little lot isn't enough, an adjoining room contains an Alpha Juno 2 and a DX7 to be called upon when required: usually to provide synth bass samples for the SP12. With a six-foot high rack of effects to one side of the mixing desk and a 2" 24-track machine to the side of that, the Cabs have everything they need to produce master quality recordings just as and when it suits them.

At 2:19, the keyboard Kirk is playing has the words "Juno-60" on the back.

At 0:39, Richard is playing an Emax keyboard.

Kirk is playing a Fairlight CMI in this video.

Nowadays the Western Works is furnished with machines of an altogether different calibre. The workhorse is E-mu's SP12 sampling drum machine, which Kirk used to sample and sequence up most of the rhythm tracks for Code. Further sampling power is provided by the Emax, sequenced by the Korg SQD1 which is synced to the SP12 and a trusty TR808 with a Roland SBX90. And if this little lot isn't enough, an adjoining room contains an Alpha Juno 2 and a DX7 to be called upon when required: usually to provide synth bass samples for the SP12. With a six-foot high rack of effects to one side of the mixing desk and a 2" 24-track machine to the side of that, the Cabs have everything they need to produce master quality recordings just as and when it suits them.

"I like the NS10 studio monitors and the big JBL 4425s, which are kind of shot now. We've got loads of analogue synths MIDI'd and piles of records to sample from. We've got a VCS3 and a Synthi A, which are the same thing really but a different shape. We're going to have them converted. The Roland 303 is MIDI'd up but the box is bigger than the synth itself, which is hilarious."

"I like the NS10 studio monitors and the big JBL 4425s, which are kind of shot now. We've got loads of analogue synths MIDI'd and piles of records to sample from. We've got a VCS3 and a Synthi A, which are the same thing really but a different shape. We're going to have them converted. The Roland 303 is MIDI'd up but the box is bigger than the synth itself, which is hilarious."