Peter Gabriel 4 (Security) equipment

This album is Peter Gabriel's fourth self-titled studio album - titled Security in some territories - released in September of 1982 to critical acclaim. It's titled Security in some territories, and here is referred to as such so to avoid confusion with the previous three albums which bear the same name.

The recording process of Security took place over a strenuous 18-month period, beginning in early 1981. Portions of the recording sessions were documented in a TV Special for the South Bank Show, aired on 31 October 1982.

For the first few months, Peter and co-producer/engineer David Lord worked on demos & song ideas together at Ashcombe House using a basic 8-track setup. Having access to the Linn LM-1 drum machine became very handy for Peter in terms of writing with a 'rhythm-first' approach: he'd program patterns of his own as foundations for the songs. Early work was also done at David Lord's Crescent Studios, where he and Peter gathered some sounds to sample into the Fairlight CMI. Peter also did some of the Linn programming at Crescent Studios, which was played back via the studio PA and recorded to tape.

By the Summer of 1981, Peter focused on recording the basic tracks with his live band, using the demos as a guide. Each of them would be subsequently edited down from multiple takes, and would undergo further polishing over the coming months. Larry Fast became involved in the 'electronic production' aspects during late 1981, working on synthesizer parts and various treatments. During Spring 1982, Peter and David Lord focused on recording the lead vocals in the booth at Ashcombe. The album was complete by around June/July 1982, before the first WOMAD festival concert debuting songs from the album on 16 July 1982.

In terms of studios, it was the first album to be done largely at Peter's home studio at Ashcombe House in Bath. It was affectionately called by those close to him as "Shabbey Road" at the time, as Peter was in the process of upgrading and re-wiring the studio. Mixing and overdubs were also done at Crescent Studios in Bath, except "Shock The Monkey" which was remixed by Julian Mendelsohn at Sarm West Studios, London. It is stated in the credits that the album was mastered on Sony PCM-1600 digital 2-track: David Lord seems to recall that this was actually the case for the German-language version of PG4 which was done afterwards. Not the English version, which was mixed to Ampex 1/2" tape.

Peter Gabriel
Keyboards & synthesizers
 * Fairlight CMI Series I
 * Sequential Circuits Prophet-5
 * Yamaha CP-70 electric grand

Effects:
 * AMS DMX 15-80 delay
 * AMS DMX 15-80S delay/pitch shifter
 * Boss CE-1 Chorus Ensemble (x2) - one possibly for Fairlight and one for CP-70
 * Dbx 165 compressor
 * Deltalab DL-2 digital delay /w MB4 memory module
 * Ibanez UE-700 multi-effects unit
 * Roland SDD-320 Dimension D

Drum machines:
 * Linn Electronics LM-1 drum computer
 * Roland CR-78 CompuRhythm - not used, but seen in footage

Miscellaneous:
 * Sharp GF-8585 boombox

Larry Fast

 * Fairlight CMI Series I
 * Moog Model 15
 * Moog Polymoog 203a
 * Sequential Circuits Prophet-5
 * Oberheim MS-1 Minisequencers
 * Oberheim SEM modules
 * Radio Shack $9.95 amplifier]

David Rhodes
Guitars:
 * 1963 Fender Jazzmaster (white)
 * 1962 Fender Stratocaster

Amplification:
 * Roland JC-120 Jazz Chorus (assumed)
 * Mesa/Boogie (assumed)

Effects
 * Boss

John Ellis

 * Fender Stratocaster (black, with silver pickguard, possibly custom)
 * Roland JC-120?

Tony Levin
Basses
 * Chapman 12-string stick
 * Music Man

Amplifiers
 * Marshall 100-watt amp & cabinet
 * Roland JC-120 Jazz Chorus

Effects
 * MXR Phase 90 ("Shock The Monkey")
 * Yamaha SB-100 Professional System effects pedalboard

David Lord

 * Fairlight CMI Series I
 * Moog Polymoog 203a ("Lay Your Hands On Me")
 * Sequential Circuits Prophet-5 ("Lay Your Hands On Me")
 * unknown grand piano (additional piano on "Wallflower") - possibly a Bechstein Grand at Crescent Studios, blended with PG's Yamaha electric grand

Source: credits, Sound International Issues 33-40 (1981 - page 66 Crescent Studios advert)

Jerry Marotta

 * Yamaha acoustic drums?
 * Zildjian cymbals

Microphones
A selection of microphones were hired in by Peter during the course of the album, and others were from David Lord's collection.


 * AKG
 * C460B(?): snare drum
 * C-12: possibly overheads
 * D-12: kick drum
 * Beyerdynamic
 * M88: Peter Gabriel guide vocals during band tracking
 * M160: hi-hat
 * Calrec (models unknown)
 * Electrovoice:
 * RE20: possibly kick drum
 * Neumann:
 * KM-84: possibly used on snare (bottom)
 * U47 FET: 2 on tom-toms, percussion
 * U87 - tom-toms, possibly overheads & drum room mics, percussion
 * Shure
 * SM57: mainly for lead vocals and for Radio Shack amp-processed sounds. Possibly used for snare (top).

Sources: Photos by Larry Fast, footage from South Bank Show TV special, David Lord interview, Sound International Issues 33-40 (1981 - page 66 Crescent Studios advert), additional info from David Lord

Outboard gear
(some of these were Peter's units at his home and also at Crescent)

Digital delays & chorusing:
 * AMS DMX 15-80
 * AMS DMX 15-80S
 * Deltalab DL-2 /w MB4 memory module
 * Eventide H910 Harmonizer
 * Roland SDD-320 Dimension D

Reverberation:
 * AMS RMX-16 digital reverb
 * EMT plates (x2)

Noise Reduction
 * Dolby M16 24-trk NR
 * Dolby 361 System

Other:
 * Dbx 165 compressor
 * Dolby M16 24-track
 * Gelf Autophaser - available at Crescent, likely used on "Kiss Of Life" opening drums
 * NEI Real Time Analyser model 2079A
 * Solid State Logic noise gates (x24) - specially commissioned by Peter

Crescent Studios additional outboard equipment 1981/82 - more details needed:
 * Dolby NR (x18)
 * Klark Teknik
 * UREI

Sources: Crescent Studios information, South Bank show (see references for link), additional information from David Lord, Sound International Issues 33-40 (1981 - page 66 advert for Crescent Studios)

Tape machines & recorders
Multitrack recorders:
 * Brenell Mini 8 8-track: used during initial demo stages for the album
 * Lyrec TR532 24-track: Ashcombe
 * MCI JH-110 2-track: Ashcombe House
 * Studer A800 24-track: Ashcombe
 * Studer A80 24-track: Ashcombe

Stereo mixdown machines:
 * Revox A77 mk. IV 2-track: used during demo recordings. one A77 also available at Crescent Studios.
 * Studer A80 1/2" 2-track analog: Ashcombe House
 * Sony PCM-1610 digital 2-track: mixdown at Crescent studios and Ashcombe

Sources: South Bank show, album credits, additional info from David Lord

Mixing consoles

 * Allen & Heath MOD 2 16-input: used during demo stages
 * API: Crescent Studios
 * Neve (modified 8026?): mixing at Crescent Studios
 * Solid State Logic (either SL-4000E or SL-6000E): "Shock The Monkey" mix at Sarm West Studios by Julian Mendelsohn
 * MCI: used at Ashcombe, borrowed desk

Sources: Crescent Studios information, photos, Sarm west reports (SSL), South Bank Show footage, additional info from David Lord

Mobile One equipment
The Mobile One portable recording studio truck is credited in the album liner notes for the first two weeks of recording work at Ashcombe House - most likely during Summer 1981 when his live band was invited for recording. The Mobile's equipment is as follows:
 * MCI 36 in/out console /w Triad on-board console
 * two MCI 24-track recorders
 * MCI 2-track/4-track mixdown. Sony digital 2-track recorders (optional)
 * Dolby A 48-channel Noise Reduction
 * Reverb units - EMT Digital Plate and Master Room
 * Eventide Harmonizer
 * ADR SCAMP modular racks
 * UREI limiters & parametric EQ
 * Microphones: AKG, Beyer, Neumann, Sennheiser, Shure
 * Tom Hidley-designed JBL/TAD monitoring system
 * Auratone 5C mini monitors

Source: DB magazine February 1983, David Lord

References (common for all sections except Mobile One)

 * Peter Gabriel on South Bank show 31.10.82 - documentary on the making of PG4
 * Larry Fast photos
 * Album credits