Peter Gabriel 2 (Scratch) equipment

Peter Gabriel 2 (also referred to as "Car") was Peter Gabriel's second eponymous solo album, released in 1978. It was produced by Robert Fripp.

Recording for the album took place from Autumn 1977 through to 1978. Most of the album was cut in the Netherlands, with vocals recorded the Hit Factory in New York.

Very little information is currently available about the exact production details of this album. Apparently, according to Larry Fast, Robert Fripp was against the idea of photos being taken during the sessions, so very little photographic evidence exists which could have helped provide greater technical insights.

Peter Gabriel

 * Piano
 * Hammond organ
 * Moog Polymoog 203a (possibly)
 * Yamaha CS-80(?)

Tony Levin
Basses Effects
 * Chapman stick
 * Fender Precision - possibly used someplace
 * MXR CSP-026 Phase 90

Larry Fast
(partial section)
 * Moog Polymoog 203a
 * Moog Minimoog Model D
 * Moog Model 15 modular
 * Oberheim DS-2 digital sequencers
 * Oberheim SEM Synthesizer Expander Modules

Treatments
 * MuTron BiPhase dual phaser ("White Shadow" phased keys)

Todd Cochran (Bayete) (additional keys)

 * ARP 2600 (modified)
 * Hohner Clavinet D6
 * Moog Minimoog
 * Moog Polymoog 203a
 * Oberheim Modular System (modified)
 * Yamaha stage acoustic piano

Many thanks to Todd Cochran for providing this information.

Sid McGinnis

 * 1955 Fender Stratocaster (refinished sunburst) - Sid's main guitar since 1975, therefore likely used for this album

Source: Sid McGinnis rig rundown video (0:45 - Stratocaster)

Jerry Marotta

 * Pearl black drum kit /w 8", 10", 12", 14" and 16" floor toms (assumed)
 * Pollard Syndrum - heard on "A Wonderful Day In A One-Way World"

Microphones

 * AKG (unknown models)
 * Electro-Voice:
 * RE-20: Vocals at the Hit Factory
 * Neumann (unknown models)
 * Sennheiser (unknown models)
 * Shure (unknown models)

Outboard gear

 * Compressors:
 * A&D: Relight
 * Pye: Relight
 * Teletronix LA-2A compressor: Hit Factory
 * Teletronix LA-3A compressor: Trident Studio & Hit Factory
 * Roger Mayer: Hit Factory
 * UREI (models unknown): Relight
 * UREI 1176: Trident & Hit Factory
 * Universal Audio 176 tube compressor: Trident
 * Digital delays & effects processors:
 * Eventide H910 Harmonizer: Relight, Trident and Hit Factory
 * Eventide 1745 Digital Delay: Relight, Trident and Hit Factory
 * Gotham 101 Delta T delay: Trident
 * Lexicon Prime Time: Hit Factory
 * Reverberation:
 * AKG BX-20: Hit Factory
 * EMT stereo plates: Relight, Trident and Hit Factory
 * Master Room: Hit Factory
 * Other:
 * (Allison?) Kepex noise gates (x4): Trident and Hit Factory
 * (Allison?) Gain Brain noise gates (x4): Trident
 * Cooper Time Cube: Hit Factory
 * Eventide Flanger: Relight
 * Orban 536A dynamic sibilance controller: Trident
 * Marshall Time Modulator: Hit Factory
 * Orban parametric EQ: Hit Factory
 * Orban De-Esser: Hit Factory
 * Pultec EQ: Hit Factory

Tape machines

 * 24-track:
 * MCI JH24 (Relight Studio 1)
 * MCI JH-114 (Hit Factory)
 * Studer A80 (one at Trident Studios /w Dolby NR, three available at The Hit Factory)
 * 2-track:
 * Ampex (Hit Factory)
 * Studer A80 (Relight, Trident & Hit Factory)
 * Studer B67 (Hit Factory)
 * Studer B62 (Trident Studios)
 * Studer C37 (Trident Studios)
 * Scully (Hit Factory)

Mixing consoles

 * API custom (Hit Factory)
 * Midas 36/28 console (Relight Studio 1)
 * Triad A series 40/8 console (Trident Studios)
 * Neve 8068 /w NECAM automation (Hit Factory)
 * MCI JH-500 automated (Hit Factory)

Monitors

 * JBL 4350's (Relight, powered by Amcron DC300A amps)
 * JBL 4320's (Trident, powered by Quad 303)
 * Auratone 5C's
 * Hit Factory: UREI 813, Altec A19S, Westlake, JBL 4311, Mitsubishi, Auratones, Big Reds