The 1994 studio was equipped with a 56-input Amek Mozart console with Rupert Neve modules, two Studer A800 Mk3 multitrack machines, Mac-based Pro Tools and a host of outboard gear, in addition to Akai S1100 and Kurzweil K2000 samplers; Prophet VS, Digidesign Turbosynth, ARP Odyssey, Oberheim Expander, Oberheim OBMx, Roland MKS80 and Minimoog synthesizers; Doepfer and Oberheim sequencers; a Mellotron MKIV polyphonic tape replay keyboard; a Roland R70 drum machine; and assorted Jackson and Gibson guitars.more
“A lot of the reverbs in that section were made using Space Designer in Logic,” Price explains. “I used to have an Akai S1100 sampler, which had this really good reverb preset on it called Cavernous. I always missed that sound, so I recorded some impulses through Space Designer, but what I didn't realize was that I accidentally had a Yamaha SPX-90 chorus stuck on the mixer, so the impulses got recorded with this chorus effect on it. But that ended up giving them this great swirling effect, which created a lot of that revolving panorama in the song.”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
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