Used in Studio 21 for Is There Love in Space?, Professor Satchifunkilus and the Musterion of Rock and Black Swans and Wormhole Wizards (particularly for the intro of "Littleworth Lane"), as stated in Strange Beautiful Music: A Musical Memoir.

Is There Love in Space?

Before reuniting with John Cuniberti, Matt Bissonette, and Jeff Campitelli to record Is There Love in Space?, I started recording the new songs at Studio 21, my home studio, trying once again to break my own style down and rebuild it into something new. I was deeper into Pro Tools now and having much more success and fun with it. The new record would feature quite a bit of compositional variety, with lyrical-sounding melodies and more angular-sounding solos—and two vocal tracks!

At Studio 21, I was using a Korg Triton DAW keyboard, Universal Audio 1176 and LA-2A compressor/limiters, an Empirical Labs EL8S, old API EQs, the Millennia Media STT-1 mic pre, and Palmer speaker simulators. For guitar amps I had an interesting collection: Soldano, Mesa Boogie, Cornford, Vox, Wells, and several vintage Marshalls. Added to that group was my new Peavey JSX prototype head. Everything just started to sound better!

Professor Satchifunkilus and the Musterion of Rock

I was using an old Marshall SE100 as my main speaker simulator, which meant I was going guitar into amplifier into Marshall SE100 into Pro Tools directly, or through the STT-1 if I wanted to shape it with some EQ or optical compressor. Additionally, the SE100 has some really clever ways of simulating a microphone being right at the cone, at a slight angle, or at a big angle. I like using the 30- and 60-degree angles—off axis, they call it—and it worked pretty well. It really does sound like an amp being miked up by a 57, so that setup worked in my room. As far as guitars, I was using the Ibanez JS1200 and the JS1000 most of the time. What mattered more than the equipment by that point was that another two years had gone by where I continued getting more proficient at recording with Pro Tools in general.

Black Swans and Wormhole Wizards

With “Solitude,” I was thinking about how I often require time to be alone, much as my parents did, and I coupled that with my mother’s absence from her house once she passed. It was so profound, I couldn’t put it into words. I was working on a song called “Heartbeats” at my home studio one afternoon when the inspiration came. I was thinking “Heartbeats” needed some kind of introduction, but instead I started writing a piece that was much bigger. It was a song about my moments of solitude, and the lonely feeling in my mother’s house now that her spirit had moved on. It eventually found a home on the record right before “Littleworth Lane.” I played my JS1000 direct into my STT-1 for that recording.

Specified on the official Millennia artist page.

Neil Young, Redwood Digital (Origin, NSEQ, HV-3)

Exclusive gear from the private collection of Richard Z. Kruspe. Has been played live or in the studio with Rammstein and Emigrate. Every item comes with a certificate of authenticity, signed by Richard himself. Millennia STT-1 Origin Recording System, used by Richard Z. Kruspe of Rammstein & Emigrate in the studio. A signed document of authenticity is included.

Specified on the official Millennia artist page.

Steve Albini (Origin)

Specified on the official Millennia artist page.

Bootsy Collins (stereo STT-1 bass rig) Pix of Bootsy Collins with Millennia STT-1s

Specified on the official Millennia artist page.

J.J. Cale (TD-1, STT-1)

Specified on the official Millennia artist page.

Christopher Walla, Death Cab for Cutie (16 ch HV-3, STT-1)

Specified on the official Millennia artist page.

The Wallflowers (Jakob Dylan, TD-1, Origins)

Timo Mass says: "We are using the SST-1 Origin Recording System for vocal recordings and also for fattening up synth sounds."

Specified on the official Millennia artist page.

Andrea Bocelli (40+ ch HV-3 & Origins, Live and Studio)

Specified on the official Millennia artist page.

Simon Franglen LA/UK STT-1s