Vince Clarke

"We've got a Lexicon 224, a Lexicon 224X, a Quantec Room Simulator and an AMS system. So really that's four very good quality reverbs. We also use quite a bit of natural echo, because there's a long corridor that still has the original church stonework intact, and above Blackwing Studio there is a natural echo chamber which lies under the main roof of the church. When I originally designed Blackwing, I left the area under the roof as a natural echo room, really because it seemed too good to waste. I think nowadays the selection and application of reverb has become the most difficult - and at the same time, the most productive - area of the recording process, because that is where a lot of the new production work is going on, particularly with things like drum sounds. I spend a lot of time adding reverb to the LinnDrum and the Fairlight, because it is very difficult to get it absolutely right, though when you do of course, the results can be very impressive."

"We've got a Lexicon 224, a Lexicon 224X, a Quantec Room Simulator and an AMS system. So really that's four very good quality reverbs. We also use quite a bit of natural echo, because there's a long corridor that still has the original church stonework intact, and above Blackwing Studio there is a natural echo chamber which lies under the main roof of the church. When I originally designed Blackwing, I left the area under the roof as a natural echo room, really because it seemed too good to waste. I think nowadays the selection and application of reverb has become the most difficult - and at the same time, the most productive - area of the recording process, because that is where a lot of the new production work is going on, particularly with things like drum sounds. I spend a lot of time adding reverb to the LinnDrum and the Fairlight, because it is very difficult to get it absolutely right, though when you do of course, the results can be very impressive."

"We've got a Lexicon 224, a Lexicon 224X, a Quantec Room Simulator and an AMS system. So really that's four very good quality reverbs. We also use quite a bit of natural echo, because there's a long corridor that still has the original church stonework intact, and above Blackwing Studio there is a natural echo chamber which lies under the main roof of the church. When I originally designed Blackwing, I left the area under the roof as a natural echo room, really because it seemed too good to waste. I think nowadays the selection and application of reverb has become the most difficult - and at the same time, the most productive - area of the recording process, because that is where a lot of the new production work is going on, particularly with things like drum sounds. I spend a lot of time adding reverb to the LinnDrum and the Fairlight, because it is very difficult to get it absolutely right, though when you do of course, the results can be very impressive."

"We've got a Lexicon 224, a Lexicon 224X, a Quantec Room Simulator and an AMS system. So really that's four very good quality reverbs. We also use quite a bit of natural echo, because there's a long corridor that still has the original church stonework intact, and above Blackwing Studio there is a natural echo chamber which lies under the main roof of the church. When I originally designed Blackwing, I left the area under the roof as a natural echo room, really because it seemed too good to waste. I think nowadays the selection and application of reverb has become the most difficult - and at the same time, the most productive - area of the recording process, because that is where a lot of the new production work is going on, particularly with things like drum sounds. I spend a lot of time adding reverb to the LinnDrum and the Fairlight, because it is very difficult to get it absolutely right, though when you do of course, the results can be very impressive."

As listed in this 1984 interview on the Music Magazine Archive