Richard H. Kirk

Equipment list from the March 1994 issue of Sound on Sound:

RECORDERS

Soundcraft Series 760 24‑track tape machine. Revox PR66 2‑track tape machine. Sony DTC‑1000ES DAT recorder. Casio DA7 portable DAT recorder. Tascam 122 cassette recorder.

MIXER

Soundcraft Series 1624 mixer.

MONITORS

JBL 4425 studio monitors. Yamaha NS10m nearfield monitors.

AMPLIFIER

Quad 520f power amp.

INSTRUMENTS

Akai S1000 sampler. Emu Emax keyboard sampler. Oberheim Matrix 1000 synth module. Roland Juno 60 synth. Yamaha DX7 synthesizer. Roland SH09 synth (with MIDI). EMS Synthi A synth. Putney VCS3 synth. Roland TR808 drum machine (with MIDI). Roland TR909 drum machine. Roland TB303 Bassline synth (with MIDI).

SEQUENCER

C‑Lab Notator + Unitor + Export. Atari 1040ST + monitor.

PROCESSORS

Lexicon PCM70 digital effects. Lexicon PCM60 digital reverb. MXR 01a digital reverb Bel BD80 delay. Yamaha EMP700 multi‑effects. Alesis Quadraverb. Drawmer dual gates (2). Drawmer compressor/limiter.

MICROPHONES

Neumann U89i mic.

Equipment list from the March 1994 issue of Sound on Sound:

RECORDERS

Soundcraft Series 760 24‑track tape machine. Revox PR66 2‑track tape machine. Sony DTC‑1000ES DAT recorder. Casio DA7 portable DAT recorder. Tascam 122 cassette recorder.

MIXER

Soundcraft Series 1624 mixer.

MONITORS

JBL 4425 studio monitors. Yamaha NS10m nearfield monitors.

AMPLIFIER

Quad 520f power amp.

INSTRUMENTS

Akai S1000 sampler. Emu Emax keyboard sampler. Oberheim Matrix 1000 synth module. Roland Juno 60 synth. Yamaha DX7 synthesizer. Roland SH09 synth (with MIDI). EMS Synthi A synth. Putney VCS3 synth. Roland TR808 drum machine (with MIDI). Roland TR909 drum machine. Roland TB303 Bassline synth (with MIDI).

SEQUENCER

C‑Lab Notator + Unitor + Export. Atari 1040ST + monitor.

PROCESSORS

Lexicon PCM70 digital effects. Lexicon PCM60 digital reverb. MXR 01a digital reverb Bel BD80 delay. Yamaha EMP700 multi‑effects. Alesis Quadraverb. Drawmer dual gates (2). Drawmer compressor/limiter.

MICROPHONES

Neumann U89i mic.

Equipment list from the March 1994 issue of Sound on Sound:

RECORDERS

Soundcraft Series 760 24‑track tape machine. Revox PR66 2‑track tape machine. Sony DTC‑1000ES DAT recorder. Casio DA7 portable DAT recorder. Tascam 122 cassette recorder.

MIXER

Soundcraft Series 1624 mixer.

MONITORS

JBL 4425 studio monitors. Yamaha NS10m nearfield monitors.

AMPLIFIER

Quad 520f power amp.

INSTRUMENTS

Akai S1000 sampler. Emu Emax keyboard sampler. Oberheim Matrix 1000 synth module. Roland Juno 60 synth. Yamaha DX7 synthesizer. Roland SH09 synth (with MIDI). EMS Synthi A synth. Putney VCS3 synth. Roland TR808 drum machine (with MIDI). Roland TR909 drum machine. Roland TB303 Bassline synth (with MIDI).

SEQUENCER

C‑Lab Notator + Unitor + Export. Atari 1040ST + monitor.

PROCESSORS

Lexicon PCM70 digital effects. Lexicon PCM60 digital reverb. MXR 01a digital reverb Bel BD80 delay. Yamaha EMP700 multi‑effects. Alesis Quadraverb. Drawmer dual gates (2). Drawmer compressor/limiter.

MICROPHONES

Neumann U89i mic.

Equipment list from the March 1994 issue of Sound on Sound:

RECORDERS

Soundcraft Series 760 24‑track tape machine. Revox PR66 2‑track tape machine. Sony DTC‑1000ES DAT recorder. Casio DA7 portable DAT recorder. Tascam 122 cassette recorder.

MIXER

Soundcraft Series 1624 mixer.

MONITORS

JBL 4425 studio monitors. Yamaha NS10m nearfield monitors.

AMPLIFIER

Quad 520f power amp.

INSTRUMENTS

Akai S1000 sampler. Emu Emax keyboard sampler. Oberheim Matrix 1000 synth module. Roland Juno 60 synth. Yamaha DX7 synthesizer. Roland SH09 synth (with MIDI). EMS Synthi A synth. Putney VCS3 synth. Roland TR808 drum machine (with MIDI). Roland TR909 drum machine. Roland TB303 Bassline synth (with MIDI).

SEQUENCER

C‑Lab Notator + Unitor + Export. Atari 1040ST + monitor.

PROCESSORS

Lexicon PCM70 digital effects. Lexicon PCM60 digital reverb. MXR 01a digital reverb Bel BD80 delay. Yamaha EMP700 multi‑effects. Alesis Quadraverb. Drawmer dual gates (2). Drawmer compressor/limiter.

MICROPHONES

Neumann U89i mic.

richard h kirk words

"As far as we were concerned at that time anyone who was a drummer wouldn't hold down just a pulse. They wanted to play like Emerson Lake and Palmer, horrible progressive music. We saw these little drum machines which then were only used by people doing the Working Men's Clubs. We thought they were perfect for us and we just put it through an echo. They're all in there (indicates the store-room). We bought the first one which was a Farfisa that I'd actually seen on the inside of the first Kraftwerk album. Then we got a Selmer which was amazing because it could do drum rolls. None of these were programmable, it had three different varieties, a drum roll every four bars or every eight or whatever. It was the one we used on "Nag Nag Nag". It had quite a hard sound whereas the other one was a bit wishy washy. Then I think we bought one off A Certain Ratio, an Electro Harmonix; it was good, it had a separate bass drum output. The bass drum was very similar to the 808 bass drum. We've never thrown any of it away. I'm still sampling bits and pieces off these old boxes."