Alan Moulder who worked with Kevin during the recording of Loveless says- “The sampling was uncharted territory. We didn’t know the gear properly – we had just gone from the S900 to the S1000 which was a massive jump – and there were lots of possibilities to explore. I remember there was what sounded like a blur of notes to me, but Kevin could hear that some were cutting off and weren’t playing properly, and we couldn’t understand why. Now it is obvious: we had overused the polyphony, but at the time we couldn’t work out why it wasn’t playing back. I don’t remember solving it but we managed to get it so he liked it.”?more
"We have five or six samplers, but my favorite by far is still the Akai S1000. It's an old tank now, and the screen has faded so that I almost can't read it, but I know it inside out. It's the most spontaneous thing for making up little tunes. It adds something to the sound - maybe the lower bit depth has something to do with that." From an [interview](http://bocpages.org/wiki/Northern_Exposure) w/ Michael Sandison.more
As I browsed through the sleeve notes on Moby's albums I noticed that the gear lists documented in the 1995 release Everything Is Wrong are almost identical to his current setup. Could it really be possible that this successful musician had no spare cash to spend on new studio gear during the last four years? "From Everything Is Wrong until now I've bought a vocoder and a new sampler and that's about it. On the one hand I'd love to get a bunch of new equipment, but on the other hand there's something to be said for working with equipment with which I'm comfortable. I'm thinking that at some point I will actually switch over and get a full Pro Tools setup and start doing things more in the computer, but for this record I didn't feel compelled to do that." MOBY GEAR Apple Mac running Steinberg Cubase sequencer. Soundcraft Spirit 24:8:2 desk. Alesis ADAT digital multitracks. SAMPLERS Akai S950. Akai S1000. Akai S3000. Akai S3200. SYNTHS/KEYBOARDS Casio CZ101. Emu Proformance piano module. Oberheim Matrix 1000. Roland Juno 106. Roland Jupiter 6. Serge Modular Synth. Waldorf Pulse Plus. Yamaha SY22. Yamaha SY35. Yamaha SY85. PROCESSORS Dbx 160XT Compressor. Eventide DSP4000. Soundlab Vocoder. Yamaha SPX900. SEQUENCERS & DRUM MACHINES Roland TB303. Roland TR606. Roland TR909. Roland TR808. OTHER EQUIPMENT Hafler Pro 5000 Power Amp. Technics 1200 turntables. Ibanez Electric Guitar. Fender Precision Bass.more
In his early years, Mr. Oizo used a Korg MS-20, an Akai S1000, and an Atari 1040 computer. Mr. Oizo is known currently for strong use of computers in his music. As he stated in an interview with XLR8R, he started using computers to avoid having to plug in four different appliances, and because the result of music is more or less the same. His first album to switch to all computers was Moustache (Half a Scissor). In Lambs Anger, Mr. Oizo used a Macintosh G5 running Logic Pro to compose all of the songs. During his DJ sets, he uses two CDJs.more
For Very they used: Korg M1Rs Akai S1000s Akai S3000s Roland S770 E-mu Systems Proteuses Oberheim Matrix 1000 Roland MKS80s Roland MKS50s PPG Waveterm Roland JD800 Roland Juno 106 Sequential Circuits Prophet V Roland R70 Fairlight CMI Macintosh running Notator Logic Dynaudio monitors This is according to Music Technology magazine (Dec 1993)more
Although boasting a lush sound, the album was recorded largely at Paul's Rhythm Ranch studio on a single tascam 16-track with a Studiomaster desk. Synths used include: Roland D-50, Akai S1000 and S3000, Kork M1R, Waldorf Microwave, Roland Super Jupiter module, Oberheim Matrix 1000, Yamaha TX802, Minimoog, MIDIMoog, Oberheim Two-Voice, Roland Jupiter 8 and SH-101.more
"I'm a big advocate of getting outside your computer, using as much hardware as possible. I made so many tracks with just a few pieces of gear, like my old Akai S1000, Waldorf Q and a Juno 106. Just having stuff like that and a cheap mixer sounds loads better than doing everything in the computer with soft synths."more
"We also use quite a lot of old stuff, because I've still got things like a PPG 2.2, and we've used a Prophet 5, Juno 106 and Jupiter 8 because there's a lot of arpeggiated stuff. A big problem with a lot of modern sequencers is that you have to write arpeggiation in yourself- there isn't actually a machine which arpeggiates, which is a shame because it's nice when it's more random. We use S1000s, S900s, and an FZ1. I tend to use the FZ1 as my main sampler just because that happened to be the one that I bought."more
«I’m using this with Mennie for an album track we’re doing together. It’s a 2MB memory sampler that can be used to edit and chop samples… very juicy. I got it from Mennie and I’m not sure I’ll give it back. Francesco found this for 100 Euro in an old market in Rome – a very lucky shot»more
“There’s a big trend of people using vinyl crackle in electronic production when they don’t even own a piece of vinyl. When you hear a vinyl crackle in my tune, it’s usually because it’s come from vinyl. It goes back to the Jungle era; people like LTJ Bukem, Photek and Source Direct, all those records come from other records, through an Akai S1000, 2000 or 950 sampler. I like paying homage to the original production techniques that got me into this game in the first place.”more
In his 2016 interview for electronicbeats.com, Goldie recounts his early production investments: > "So basically what happened was we hired in two Akai S1000 samplers. Now at that time, they said to me, “You only need one,” and I said, “No, I want two.” I literally fucking filled them up with samples, completely. No memory left."more
Hillage is fully conversant with both the modern technology of synths, samplers, sequencers and digital audio recording and the impact that this technology has had on the roles of musician and producer, a consequence of his years spent working in studios as a producer. Today, a hi-tech gear setup which includes a Korg Wavestation, two Akai S1000s, an E-Mu Proteus and C-Lab's Creator sequencing software running on an Atari 1040ST allows him to work on ideas and put tracks together at home.more
EQUIPMENT LIST RECORDING Akai S1000 Sampler + Hard Drive Alesis HR16 Drum Machine Atari 1040ST Computer Casio CZ230S Synth E-mu Systems Proteus Sample Reader Korg M1 Workstation Oberheim Matrix 1000 Synth Module Roland D110 Synth Module Roland Super JX Synth Module Steinberg Pro24 v3 Sequencing Software Yamaha RX5 Drum Machine Yamaha TX81Z Synth Modulemore
"On 'Blackwater' I decided I wasn't happy with the original brush part", says Jansen. "The studio time had finished, so I had time to go away and think about it and I really didn't like what I'd done. I had taken samples of the sounds at the time so I took a SMPTE mix of the track home to our E16 and started to duplicate what I'd played using an Akai S1000 and the Macintosh. I used a variety of samples and literally compiled them on top of the original - slowing down where it slowed down and so on. Hopefully it doesn't sound too bad. I was surprised at the quality of the Akai; it was the first time I'd used one."more
When Darren's not cajoling the crowd and telling them how "absolutely fuckin' marvellous" they are, he drops in samples and plays ambient fills with a collection of records and a couple of Technics SL1200s. He also reinforces the rhythm track with congas, timbale and a Roland Octapad triggering an Alesis SR16 and S1000.more
Included in his studio are synthesizers such as the Roland MKS-70, two MKS-50s, a MKS-80 and D-50; Yamaha TX-81Z; four Oberheim Matrix 1000s, E-mu Orbit and Morpheus, and a Casio VZ-10M. Sample players include Kurzweil 1000AX+, Roland U-110, Oberheim DPX-1, E-mu Proformance Piano and Proteus (as well as the Proteus 2 and 3), Alesis NanoBass and samplers, including a Casio FZ-10M, two Akai S-1000s and three Akai CD-3000s. He also turns to E-mu Procussion, Roland R-8M, Alesis DM-5, Roland BD-1 and a Roland SPD-11 for drum sounds.more
According to this article on the making of Goldie's *Timeless* album from the [June 1998 issue of *Sound on Sound* magazine](https://web.archive.org/web/20150416233330/http://www.soundonsound.com/sos/jun98/articles/goldie.html), Playford says, "...there have always been things I like to constantly upgrade. It used to be my samplers. I went from the S950 to the S1000, then up to the S1100, and finally to a S3200. I can't see myself upgrading again soon."more
Yep. I love them. I want to marry all the Akais. They make the world sound like music and they make drums that kick your pants off. Stretchy digital goodness.
If it were a person, it would be amazing at facilitating original ideas at corperate meetings. Those meetings would never be boring.
Sample movies or your backyard or your kitchen. Sample the world into your Akai and you will smile forever and the world will be an ok place.