Robert Fripp

And then I can put it through a Harmonizer and a Roland Space Echo. On the Harmonizer I bring in the octave above, and on the Roland Space Echo I can add sound on sound.

Robert Fripp's laptop can be seen in this photo. The model number is difficult to read, but it appears to be a Dell Latitude E6510.

""Generally we're setting it up with a Hi-Watt style 'Hi-Power' head, through a 4x12 cab setting and a Master Fuzz [based on the Maestro FZ-1 Fuzztone]."

He has two of these you can see in this video.

Part of the Lunar Module Soundscapes System used on all work between 1994 to 2005 (RF Soundscapes, RFSQ, KC, Sylvian & Fripp, Eno's Nerve Net, etc)

Mentioned in this May 1974 Guitar Player interview, transcribed to the Elephant Talk wiki on November 11, 1997.

What type of volume pedal is it?

It's the cheapest one I found, and the only one I could afford at the time that seemed any good. I think it's a Farfisa [by C.M.I.] pedal. It's still the finest volume pedal I've found anywhere. It's the only one that goes off and still has a wide movement. It's quite incredible. On stage I use three pedals on a pedal board: A volume pedal, fuzz-tone, and wah-wah. The fuzz-tone and wah-wah are pretty rubbishy. I'm not sure what type of wah-wah it is. The best fuzz-box to use is a Burn's Buzz-around which they discontinued making in England about six years ago. I have two of them, but they're not at the moment attached to my pedal board. The more pedals you go through, the longer leads you need, and in turn the less volume you get. You lose gain along the way. To lessen that, the wah-wah and the fuzz are on the knock-off circuit. In other words, when I'm playing, all the time I'm going through the volume, but when I'm using either fuzz or wah-wah, I knock a different pedal which brings in a different circuit for the fuzz and the wah-wah. When I'm not using them I press a button and knock them out of the circuit so that the circuit shortens, and I keep up my gain. I also use a Watkins Kopy Kat echo unit. It's all right, but it's not particularly good. It suffices for what I want, which is not really a lot of echo effects but just a slight edge, because the sound on stage is very dead in a lot of halls I play in. It really doesn't matter what kind of fuzz box you use. It has more to do with the state of mind.

But if somebody wanted to obtain the same sound you got, wouldn't it be important to know what type of fuzz you were using?

No. I can get that same sound with every kind of fuzz box I've ever used. It's not a question of equipment.

"The 8000s are generally what Robert uses to create those massive loops that go on for days."

"He'll play things and forty seconds later they'll appear in the surround speakers. The 3000s are used for other effects, like the tap delay."

In an interview with MusicRadar, Robert Fripp discusses using the Korg Taktile 49 MIDI keyboard controller alongside the ThumbJam app on his iPad to generate sounds, highlighting the controller's role in his setup.

This image from Pinterest shows Robert Fripp’s stage setup from 1999.

Can be seen in this rig rundown video at 8:06.

"The Eclipse is used mainly for additional effects on his standard guitar sounds –for things that are not going through the other Eventides."

"The 8000s are generally what Robert uses to create those massive loops that go on for days.

"He'll play things and forty seconds later they'll appear in the surround speakers. The 3000s are used for other effects, like the tap delay."

"(Korg Taktile) It's just a keyboard controller. The sound is from an iPad app called ThumbJam, which reacts to MIDI messages."

"I've got an IK Multimedia iRig MIDI connecting it, so that Robert can call up Mellotron strings, brass, choir and flute on the Taktile pads and play them live on the keyboard."

In this Music Radar article, Fripp's rig can be seen to include an Apple iPad.

This image from Pinterest shows Robert Fripp’s stage setup from 1999.

This page lists Robert Fripp’s gear.

This page lists Robert Fripp’s gear.

URSA MAJOR Echo unit used on the mixing of The Great Deceiver: KC Live 1973-74 (just re-released).

Part of the Lunar Module Soundscapes System used on all work between 1994 to 2005 (RF Soundscapes, RFSQ, KC, Sylvian & Fripp, Eno's Nerve Net, etc)

Part of the Lunar Module Soundscapes System used on all work between 1994 to 2005 (RF Soundscapes, RFSQ, KC, Sylvian & Fripp, Eno's Nerve Net, etc)

"The 8000s [only one pictured, due to repairs] are generally what Robert uses to create those massive loops that go on for days."

"He'll play things and forty seconds later they'll appear in the surround speakers. The 3000s are used for other effects, like the tap delay."

"This is the heart of the whole system. Everything's got a MIDI address, so Robert can tell the MIDI Raider all the parameters that he wants –which units in, which units out, which presets on the Axe-FX -and program it so that when he clicks on that patch, the whole system will go into the mode required."

"The bottom ten switches on the right [numbers 1-10] are all assigned to certain songs. On the top row, 11 is what we call the 'lead' channel or Scene 2 on the Axe-FX and 12 has got Scene 3. Number 13 switches the Eclipse in and out and 14 and 15, labelled bottom and top, are the Eventide H8000 and 3000s."

In this Music Radar article, Fripp's rig is seen to include a Sound Sculpture Switchblade GL System.

This image from Pinterest shows Robert Fripp’s stage setup from 1999.

This image from Pinterest shows Robert Fripp’s stage setup from 1999.

Part of the Lunar Module Soundscapes System used on all work between 1994 to 2005 (RF Soundscapes, RFSQ, KC, Sylvian & Fripp, Eno's Nerve Net, etc)

Part of the Lunar Module Soundscapes System used on all work between 1994 to 2005 (RF Soundscapes, RFSQ, KC, Sylvian & Fripp, Eno's Nerve Net, etc)

Part of the Lunar Module Soundscapes System used on all work between 1994 to 2005 (RF Soundscapes, RFSQ, KC, Sylvian & Fripp, Eno's Nerve Net, etc)