By using the Internet Archive Wayback Machine (available at https://archive.org/web/) and searching for the page "http://www.squarepusher.net/justasouvenir/data/interviews.xml", it is possible to find various interviews that were gathered together over the years and kept at squarepusher.net until around the year of 2012, when the site was updated. In one of those (precisely the 2006 Rockin On' Magazine [Japan] interview), Tom is asked: "In ULTRAVISITOR, you revived the authentic Squarepusher sound by integrating the free jazz approach in Music is Rotted One Note and laptop originated sound in Go Plastic, Do You Know Squarepusher. Would you say that having recorded ULTRAVISITOR had a positive effect on HELLO EVERYTHING?" In his answer, he reveals the setup used in the Go Plastic album: "First of all, I didn't use a computer on Go Plastic. It was made with a Yamaha QY700, TX81[Z] and FS1R, an Eventide DSP4000 and Orville, an Akai S6000 and a Mackie 16 channel desk. Second, precisely what is the "authentic Squarepusher sound"? Although you seem to have made up your mind, I would be entertained to see if anybody agreed with you or each other! Certainly if there was a consensus, I would feel like I had failed to fufil my primary objective which is to rubbish the notion of the static artistic persona. The tendency to develop and change ideas, musical or otherwise is a hallmark of an active and intelligent mind -yet it is not prevalent in the sphere of music. Once musicians establish their "style", it appears that many feel compelled to take the safe option of sticking to it. The ironic thing is that repeating the same ideas over and over again gets pretty uninteresting and inevitably leads to stagnancy; thus their career is sabotaged by these very attempts to safeguard it. For me, to stick to some sort of style is to prematurely throw your artistic potential down the drain. Thus I assert that nobody could coherently state what the "Squarepusher sound" is. After recording the Ultravisitor material, I felt it was time to shift the compositional focus to simpler ideas."more
"We use an API 1608 desk, various compressors like the Universal Audio 1176s and the blue DBX 160 series. I still prefer my old Lexicon 480L to the digital plug-ins. The latest version of Pro Tools is great to have, because it is very easy to combine all the old gear with that. In ATR, we use the Roland TR-909 as the main drum machine; it’s part of the band’s sound, really. Then we still use the old Akais for ATR, like the S1100 or the S6000 or the MPC 2000XL. They are also part of the band’s identity in a way. Especially when you apply distortion. We also have a lot of modular synths, from the Metasonix Wretchmachine, the ARP 2600, Analogue Solutions Vostok, the Sherman Quad Filterbank and the Moog Voyager with all the external CV gate stuff. We find the Voyager better suited for ATR. My Minimoog just sounds too retro. I love the machine, as so many others (my Korg Trident, Roland Jupiter 8 etc...) but ATR has a certain sound that we stick to. I use all that other stuff more for the Alec Empire solo works. The Atari 1040ST is still the main sequencer for everything. Pro Tools is slaved to that."more
This sampler when I got i had the additional hard disk and the effects board already installed. I purchased it for £20 (college moth ball sale), as well as a S5000 (which I sold for £400!). This has many outputs for individual sound and effects paths and the editing possibilities are very deep. Over this sampler I still really like my Yamaha A3000 as it has some better features which suit my sound design style better. But both units have their different quirks and they both have their own uses! The S6000 also has a detachable screen and I had a really long cable for mine so I could have the editing screen at the keyboard and the sampler racked up on the other side of the room, which ad some really good uses!