"By the mid-90s, big beat artists like the Chemical Brothers and Fatboy Slim blended sampled breakbeats with TB-303s."

"Basically from my first trip to Japan I bought myself a 303, 909 and 808."

"As well as unusual and custom?built gear, Tom Jenkinson retains some of the staple instruments of '90s dance music, among them a Roland TB303," reads the caption to this photo, in this article.

Play It Again

For Moby, selecting a piano sound is also an intuitive process, and he is reluctant to offer any reasons why he might have chosen one sound source rather than any other. "Sometimes I use acoustic piano

Everything Is Right
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.

, sometimes I use the Pro Piano -- it doesn't really matter to me where I get the sounds from. The main piano on this song I think was the Emu Proformance piano module, but there are two pianos on there and the other one, I think, is off an old Yamaha synth." Following the piano chords, Moby introduced the main drum part, programmed on a Roland TR909. To complement the drums a sampled breakbeat taken from a hip-hop record was laid on top, with its tempo adjusted to suit the song's rhythm. Moby: "I never time-stretch really. I don't care about changing the pitch. If I have a drum sample and want it to be a little bit faster, I just speed it up and sacrifice the original pitch. I've never understood why people worry so much about maintaining the original pitch. If you slow it down the pitch gets lower, if you speed it up the pitch gets higher -- big deal!"

Surprisingly, all the string pad parts of 'Why Does My Heart Feel So Bad?', which can be heard washing into the first verse behind the vocal, were played on Moby's ageing Yamaha SY22 and SY85 synths. Moby's basic, yet effective approach to his string arrangement is mirrored by his minimal use of effects on the track. "The only effects I use are an SPX900 reverb on the piano and the vocals, and a little bit of delay when the verse comes back in and after the first chorus."

A second vocal line used in a 'question and answer' style (repeating 'Why does my heart...' after the main line) is introduced after the first chorus, with a grungy sound achieved by resampling the main line at a lower bandwidth before passing it through a high-pass filter. This work was done when Moby made the original sample several years before. The part was finally treated to some delay and heavy EQ during the mix. The last main element to be added to the composition was the simple sub-bass line which underpins the track. This part was also played by Moby, this time using a Roland Juno 106 synth.

Arrangement

Having assembled the basic elements of 'Why Does My Heart Feel So Bad?', Moby's next move was to concentrate on the song's arrangement. "Compositionally it's quite a simple song. The verses are four chords -- A minor, E minor, G major, D major -- then the chorus is C major to A minor and then F major to C major, and that's pretty much the whole song. So once I had the basics written it was just a matter of arranging it and adding little elements, like in the second verse a ride cymbal is introduced and there's the second call-and-response vocal."

Through the process of working by himself in just one location, Moby could switch back and forth between writing, arranging and mixing without worrying about studio time or the schedules of producers, musicians and engineers. Moby explains the method. "The subtle arrangement stuff tends to take me a long time until I'm really happy with it. In most cases on this record I would work on something and develop it as an idea and then work on it over the next couple of months -- just fine-tuning it. The difference between the finished version of a song and the original version of the song can be really marginal. 'Natural Blues' took me about a year to work on but the finished version sounds almost identical to the original."

It may seem strange that songs which have so few basic elements and a minimal production require such a long period of arrangement time, but Moby's reasons for taking his time have developed from 15 years of working almost exclusively by himself. "I recognise that my perspective on a piece of music will change drastically over time. Sometimes I'll work on a piece and think it's the greatest thing I've ever done then go back to it a week later and think it's terrible -- and vice versa. In terms of evaluating my work, I have to build in quite a lot of time, because my objectivity can be compromised quite easily. If I give myself a couple of months after everything's done that's enough to figure out whether things are as good or as bad as I imagined them to be."

17:48 into the video. see liam adjusting cutoff and resonance while playing it like a keyboard?! wild.

"On the last tour, along with the keyboards, and modulars, I had an [Elektron] Octatrack, a TB303, a Nagra tape machine, an old four track… it was fucking crazy [laughs]."

"To me, bits of gear like the Atari, the S950 and the (TB-)303 are just as ground breaking and important as the Telecaster and the Vox amp." - Fat Boy Slim.

3:39 into his YouTube video, Ferry pulls out his TB-303 in the twenty-seventh episode of his WKNDR series. He refers to it as an "Acid Bass-liner".

You can clearly see a TB-303 in Orbital's live setup in this 2019 interview.

"My first 303 I bought in 1993. I got it through a friend that was selling a TR-606 and 303 together."

According to the liner notes of his first, self-titled album, Panda Bear is credited with playing the Roland TB-303.

"New toy in the studio what do you know about Acid? #tb303"