Okay, the second photo from left to right....

There's a lighting stand there which is likely the photographer's.
Then a Revox A77 recorder in a roll-around stand, likely for making 
quarter-track playback but maybe not.

The recorder to the right of that is an MCI with pre-hear heads for 
margin control.  You can see the extra tape guides to the left of the 
top plate.  I don't know why the four meters on the electronics, because
the electronics unit doesn't look like a stock MCI to me.

The rack to the right of that... I am not sure what is in there but there
should be the margin control computer (because now we know they have one!)
and the constant-current supply for the hot stylus.

I don't know the cassette deck sitting on the chair.  I thought it was an
Advent 200, but looking at a google search of Advent photos, it's got a knob
to the right of the piano keys which the Advent doesn't have.

And then the Scully lathe and the man with the very cool hairstyle.
I used to have hair once myself.

--scott



Fine writes:

The additional photo 
doesn't clarify too much. I assume the 4-track machine is to make cassette duplication masters. The room itself looks like a dungeon!

Regarding your article, I suspect they didn't 
need A-B EQ chains because they 
weren't tweaking the EQ that much. The whole song-by-song tweaking was more a US thing than anywhere else, from what I've 
learned talking to mastering guys. Also, I know from Fine Recording that the 
general way mastering for pop was done in a room like that was, you listen to 
the tape first and make notes if 
you're going to do any level or EQ changes, at what timings. Then you do it on the fly. Maybe do a test cut to make sure it works, then cut the master lacquer. You didn't 
really need A and B chains of equipment. That was more an indulgence, like 
computerized margin controls.