Banks gear

From Genesis to Revelation (1969)

Piano

Farfisa Organ

Trespass (1970)

Piano

Hammond L-122 tonewheel organ -> Leslie speaker

Hohner Pianet N

Mellotron Mk II - hired from King Crimson

Nursery Cryme (1971)

Piano

Hammond L122 tonewheel organ -> Leslie speaker

Hohner Pianet N

Mellotron Mk II - hired from King Crimson

Foxtrot (1972)

Piano

Hammond L-122 tonewheel organ -> Leslie speaker

Hohner Pianet N

Mellotron Mk II - hired from King Crimson

Selling England By The Pound (1973)

Hammond T-102 tonewheel organ -> Leslie speaker

Hohner Pianet N

Mellotron M400 - with the 3 violins, 8 voice choir and brass tape sets. The flute set is used on "The
Battle of Epping Forest"

ARP Pro-Soloist (monophonic preset synthesizer)

RMI Electric piano

The Lamb Lies Down On Broadway (1974)

Steinway Piano

Hammond T-102 tonewheel organ -> Leslie speaker

RMI Electric piano

Mellotron M400 - with the 3 violins, 8 voice choir and Brass tape sets

Elka Rhapsody (string synth)

ARP Pro-Soloist

A Trick of the Tail (1976)

Piano

Hammond T-102 tonewheel organ -> Leslie speaker

RMI Electra 368 Electric piano -> Fender Blender fuzz effect and MXR Phase 100 phaser

Mellotron M400 - with the 3 violins, 8 voice choir and Brass tape sets -> Echoplex tape echo and MXR 10
band EQ

ARP Pro -Soloist -> Echoplex tape echo and Leslie Rotating Speaker (on Robbery Assault and Battery)

ARP 2600 (analogue synthesizer) -> Echoplex tape echo

Wind and Wuthering (1977)

Hammond T-102 tonewheel organ -> MXR Phase 100 phaser and Boss CE-1 stereo chorus

RMI Electra 368 Electric piano -> Fender Blender fuzz effect and MXR Phase 100 phaser

Mellotron M400 - with the 3 violins, 8 voice choir and Brass tape sets -> Roland RE-201 space echo and
MXR 10 band EQ

ARP Pro-Soloist -> Roland RE-201 space echo

ARP 2600 -> Roland RE-201 space echo

Roland RS-202

Fender Rhodes electric piano

Note: The MXR Phase 100 phaser and Boss CE-1 stereo chorus were used to replace the Leslie speaker.
The RS-202 was mainly used to replace the Mellotron, though not used live.

...And Then There Were Three... (1978)

Piano

Hammond T-102 tonewheel organ -> MXR Phase 100 phaser and Boss CE-1 stereo chorus

Yamaha CP-70 Electric Grand piano -> Boss CE-1 stereo chorus

Mellotron M400 - with the 3 violins, 8 voice choir and Brass tape sets-> Roland RE-201 space echo and
MXR 10 band graphic EQ

ARP Pro-Soloist -> Roland RE-201 space echo

ARP 2600 -> Roland RE-201 space echo

Roland RS-202

Moog Polymoog (polyphonic analogue synthesizer) -> MXR Distortion+ and MXR Phase 100

Duke (1980)

Acoustic grand piano (studio only)

Yamaha CP-70 (through Boss CE-1 Chorus)

Yamaha CS80 (through Boss Chorus)

ARP Quadra (through MXR Distortion+)

Moog Polymoog (studio only)

Roland VP330 (through MXR 10-band EQ and Boss Chorus)

Hammond T102 organ through MXR Phase 100 Phaser and Boss CE-1 Chorus)

The CS80 was used a lot on the album as well as the CP-70 piano. Tony used the Prophet 5 and Quadra
on just a few occasions on the album. But the Quadra especially was used a lot as a polysynth and lead
synth on the Duke tour. The Prophet 5 was used more for string like sounds as well as the flutes on
Duke's Travels (last bars before Duke's End kicks in) and Cul-De-Sac.

Abacab (1981)

Piano (studio only)

Yamaha CP-70 (through Boss CE-1 Chorus)

Moog Polymoog (studio only)

Yamaha CS80 (studio only) (through Boss CE-1 Chorus and MXR Distortion+)

ARP Quadra (through MXR Distortion+ and Lexicon Digital Delays)

Sequential Circuits Prophet 10 -> MXR Phase 100 phaser and Boss CE-1 stereo chorus

Roland VP330+ Vocoder (through MXR 10 band EQ)

NED Synclavier 2

There are rumors that the EDP Wasp was used.

Genesis (1983)

Yamaha CP-70 electric grand piano -> Boss CE-1 Stereo Chorus

ARP Quadra polyphonic analogue synthesizer

Sequential Circuits Prophet-10 polyphonic analogue synthesizer -> MXR Phase 100 phaser and Boss CE-1
stereo chorus

NED Synclavier II digital synthesizer (FM and Additive, no sampling option)

Roland VP-330 Vocoder and string/choir

Some equipment put through MXR and Lexicon digital delays

Invisible Touch (1986)

Yamaha CP-70 electric grand piano (with Kenton MIDI retrofit)

ARP Quadra synthesizer/string machine

Sequential Circuits Prophet-10 synthesizer (with Kenton MIDI retrofit)

NED Synclavier II digital synthesizer (FM and Additive, no sampling option)

E-mu Emulator II digital sampler (with analog SSM filter and VCAs)

Yamaha DX7 digital FM synthesizer

AKAI S900 12-bit Digital Rack sampler

Roland MKS-80 analogue rack synthesizer

Yamaha TX816 digital FM rack synthesizer - 8 DX7s in a rack

Korg DVP voice processor - vocoder

Equipment put through Yamaha REV7 digital reverb and Lexicon digital delays

We Can't Dance (1991)

Korg Wavestation digital vector synthesizer

Roland JD-800 digital synthesizer

Roland Rhodes MK-80 digital piano / mother keyboard

Roland Rhodes VK-1000 digital organ / electric piano

Ensoniq VFX digital synthesizer

Yamaha CP-80 electric grand piano- (88-key version of CP-70)

E-mu Emulator III digital 16 bit sampler

The Roland JD-800 was responsible for the distinctive percussion sounds on the title track.

The Way We Walk (We Can't Dance Tour) (1991–1992)

Korg Wavestation digital vector synthesizer

Roland JD-800 digital synthesizer

Roland Rhodes MK-80 mother keyboard

Ensoniq SD1 digital synthesizer - More reliable sibling of VFX

Sequenced by Alesis MMT-8

Tony used these synths to also control his 2x 20HE rack units with the following gear:

E-Mu Emulator III digital 16 bit sampler in rack form

Kurzweil 1000PX digital piano module

E-Mu Proteus/2 XR sample playback modules (four units with Tony's own samples, one with Proteus
presets)

Voce DMI-64 MkII digital organ module (two units)

Yamaha TX7 synth module DX7 in a rack

All of the above are mixed into two Roland M480 mixers and put through Yamaha SPX90 effects and a
Roland SDE3000 reverb unit. All midi routings done by two MidiTemp MMP88 patchbays. Audio routings
from the mixer through the effect units done with the Yamaha PLS1 line switcher which is also used to
extract the Roland JD-800 audio and send it to the main PA desk.

Also used was a MIDI Gate unit (brand unknown) which is used for the song Mama which they
performed 5 times in the USA leg of the WCD tour.

Calling All Stations (1997)

Korg Trinity digital workstation synthesizer

Roland JD-800 digital synthesizer

Roland JV-1080 digital rack synthesizer

Yamaha CP-80 electric grand piano

Calling All Stations Tour (1997–1998)

Korg Trinity Plus digital workstation synthesizer

Roland A-90 MIDI mother keyboard

Roland JD-800 digital synthesizer

These are then linked into 2 Opcode Studio 5 LX MIDI processor and 2 custom-made MIDI mixers and
used to control these rack units:

Two E-mu Emulator]] 4 digital 16-bit rack samplers

Two Korg Wavestation SR digital rack vector synthesizer

Korg Wavestation A/D digital rack vector synthesizer and vocoder

Korg 01R/W digital rack synthesizer

Roland JV-1080 digital synthesizer

Three E-mu Proteus/2 XR digital sample playback modules

E-mu Proteus/2 XR Orchestral digital sample playback module

E-mu Proteus/1 digital sample playback module

Two E-mu Vintage Keys digital sample playback modules

Yamaha TX7 synth module - Yamaha DX7 in rack

All of the above are mixed into a Mackie LM3204 line mixer then put through Yamaha SPX1000 effects
processor (four units) and Roland SRV-2000 effects processor. A Yamaha PLS1 line selector sends this to
a Chiddingford Mixer for his Shure SM600 transmitter to his ear monitor.

Turn It On Again Tour (2007–present)

Korg OASYS digital workstation synthesizer

Roland A90 (master keyboard only)

E-MU Proteus1 (Customised with samples of Tony's vintage keyboards) - 4 units (only 2 in use)

E-mu E4

Korg Wavestation SR

Roland JD990 - 2 units

Yamaha TX7

Alesis MMT-8 sequencer

2 Mackie LM-3204 rack-mounted mixers (only 1 in use)

Miditemp PMM-88 (Patchbay)

Yamaha SPX-2000 (Effects) - 2 units