Special Mentions

• Alex Olup, Xavier Oudin, Jose Arjol Acebal, James McAlister, Saxon Duke, Brent Hedges, Graham Hinton, Rohan Mansell, Matt Cox, Rory Dow, Brett Allen, Jan Simons, Steve Jones, Ryan Spinoglio, Dave Williams, Geoff Levy, Dan Garfield, Lars Johansson, Pere Chiara, Rob Willis, Joshua Wickett, Peter Cobbin, Jim Taig, Nick Hartley, Gemma, Angus TR, Gary Langan, Colin Fraser, Gur Milstein, Ian Hartley, Mazen Murad, Danny Widdicombe, David Whitehead, MLK, Brett Allen, Attila Szoboszlay, Shawn Cleary, Andreas Schneider, Peter Jenkins, Leon Paix, Richard Brooks, John Doust, Danny Positronic, Cris Stevens, Mandy McAlister, Simon Ayton, Marc Allen, Josh Munday, Mark Coghlan

• AardvSys HK, KV2 Audio, Turramurra Music, Analogic-ACS, Sound On Stage, Friend-Chip GmbH, Matrixsynth, Metropolis Studios UK, Sony Australia, Hinton Instruments, Studios 301 Sydney, Studio FX, MPC Stuff, Roland Corporation, Ableton, Bitwig, Xils Lab, Analog Haven, apulSoft, C-Lab, Steinberg, Federal Audio, DSI, Akai Professional, Sonic Foundry, Focal, Phase Engineering, TC Electronics, Focusrite, Soundcraft, Jands, Signex, Amber Technology, Control Data, Rohde & Schwarz, Brüel & Kjær, Adam Audio, Antelope, Benchmark, Roland DG, Virtual Sound Technology, TipTop Audio, Gravity Rigs

"I've figured out how to program personality into the sequencer. I can adjust the timing of one beat, and I can change the starting time of one track as opposed to another. Doing that shows me everything, it shows me how feels are created. You know, if you lay a snare drum a bit back, if you make it a bit lazy, it becomes someone, and if you make it a bit pushy, it becomes someone else. That's what makes the sound really. The sound of something has more to do with the way it's played - whether it's a sequencer or a player."

S.J. Lipson
[Engineer/Co-Producer - Frankie Goes to Hollywood,
Grace Jones: Slave to the Rhythm]

May 1987 - Music Technology Magazine