Stewart Copeland

This article states that Stewart Copeland uses a Shure SM7B mic.

Used as an overhead mic for “Every Breath You Take”, as mentioned by producer Hugh Padgham in this March 2004 Sound on Sound interview.

"At AIR Montserrat, the dining area had a gabled ceiling and reflective wooden floor, so I recorded Stewart's drums with room mics while also close-miking the kit, similar to how I recorded Phil Collins. There was a [Shure] SM57 on the snare, [Sennheiser] 421s on the toms, Coles 4038 ribbon mics for the overheads, and [Neumann] 87s as room mics, placed about 10 to 15 feet away and compressed a little bit. Obviously, we didn't use the room sound as much as we did for Phil, but it still provided Stewart's sound with a certain liveliness.”

Used as a snare mic for “Every Breath You Take”, as mentioned by producer Hugh Padgham in this March 2004 Sound on Sound interview.

"At AIR Montserrat, the dining area had a gabled ceiling and reflective wooden floor, so I recorded Stewart's drums with room mics while also close-miking the kit, similar to how I recorded Phil Collins. There was a [Shure] SM57 on the snare, [Sennheiser] 421s on the toms, Coles 4038 ribbon mics for the overheads, and [Neumann] 87s as room mics, placed about 10 to 15 feet away and compressed a little bit. Obviously, we didn't use the room sound as much as we did for Phil, but it still provided Stewart's sound with a certain liveliness.”

Used as a tom mic for “Every Breath You Take”, as mentioned by producer Hugh Padgham in this March 2004 Sound on Sound interview.

"At AIR Montserrat, the dining area had a gabled ceiling and reflective wooden floor, so I recorded Stewart's drums with room mics while also close-miking the kit, similar to how I recorded Phil Collins. There was a [Shure] SM57 on the snare, [Sennheiser] 421s on the toms, Coles 4038 ribbon mics for the overheads, and [Neumann] 87s as room mics, placed about 10 to 15 feet away and compressed a little bit. Obviously, we didn't use the room sound as much as we did for Phil, but it still provided Stewart's sound with a certain liveliness.”

Used as a room mic for “Every Breath You Take”, as mentioned by producer Hugh Padgham in this March 2004 Sound on Sound interview.

"At AIR Montserrat, the dining area had a gabled ceiling and reflective wooden floor, so I recorded Stewart's drums with room mics while also close-miking the kit, similar to how I recorded Phil Collins. There was a [Shure] SM57 on the snare, [Sennheiser] 421s on the toms, Coles 4038 ribbon mics for the overheads, and [Neumann] 87s as room mics, placed about 10 to 15 feet away and compressed a little bit. Obviously, we didn't use the room sound as much as we did for Phil, but it still provided Stewart's sound with a certain liveliness.”

At 2:20, Copeland mentions that he owns a 1978 Fender Stratocaster.

At 14:35 of this video, Copeland displays his Gibson SG.

At 2:05 of this video, Copeland mentions that he has a Vox AC-30.

At 2:06 of this video, Copeland mentions that he has a Fender Champ.

At 2:38, Copeland mentions that he owns a Vox AC-15.

At 13:40 a Roland Jazz Chorus 120 is visible whilst Copeland is talking about buying new gear at the store "Manny's".

Among other things, he was able to do this with his 13" hi-hats and the help of Tama’s innovative 1978 creation: Octobans, a set of eight (octo) 6"-diameter, single-headed drums distinguished by long, tube-like shells of varying lengths, which determined the pitch of each drum. Copeland made profuse use of, and did much to popularize, these and other similarly new products debuting at the time.

"Stewart Copeland's kit for the 2007 Police World Tour, seen here before a show at the massive Dodger Stadium in Los Angeles."

This is Stewart's signature ride. It is pictured behind him on the right side of his kit.

These are Stewart's signature hats. The video shows him demonstrating them on his kit at the Sacred Grove.

As listed on Stewart Copeland's Paiste Artist page.

As listed on Stewart Copeland's Paiste Artist page.

As listed on Stewart Copeland's Paiste artist page.

As listed on Stewart Copeland's Paiste Artist page.

These are Stewart's signature sticks and you can see him holding them up proudly for the camera in the picture.

"The Stewart Copeland snare drum, a Tama signature model, is a faithful reproduction of the snare drum of "mysterious provenance" that Stewart used with the Police and everything else from that time period. This Copeland snare sound easily penetrates what he describes as "the dirge from the bass and the ear-piecing sounds of a guitar." That penetrating sound is the result of combining a die-cast batter hoop and a triple-flanged bottom hoop with a brass shell that is 0.5mm thicker than the standard 1mm shell.

In trying to replicate Stewart Copeland's snare drum on which he recorded all those Police hits, Tama measured the diameter and all of the specs until it came down to metallurgy--the mixture of metals metals. After many prototypes, Tama matched the sound of Copeland's original and set up production to duplicate it consistently. Now you can capture that punchy, piercing sound in your kit."

This article states that Stewart Copeland's master controller is an M-Audio ProKeys 88 MIDI controller.

This article states that Stewart Copeland uses a DigiDesign ProControl.

This article states that Stewart Copeland uses a MOTU 2408 Mk. 3 audio interface.

This article states that Stewart Copeland uses an Avalon AD-2022 converter.

At 13:41 Copeland mentions buying a Roland Space Echo at the store "Manny's".

The Getty image shows Stewart playing one of the 70 Van Zalinge Z basses. Two were purchased for the Police, one for Sting, one for Stewart.