Boom Gaspar

From an interview with Boom Gaspar and Josh Evans on Keyboard Mag. "The combination of the grittiness of a vintage B-3, the reliability and quality of the Nord Stage, and the flexibility of the Receptor and [Native Instruments] Kontakt allows Boom to have a good hybrid between vintage keyboard sounds and modern synthesis and expandability."

From an interview with Boom Gaspar and Josh Evans on Keyboard Mag. "The combination of the grittiness of a vintage B-3, the reliability and quality of the Nord Stage, and the flexibility of the Receptor and [Native Instruments] Kontakt allows Boom to have a good hybrid between vintage keyboard sounds and modern synthesis and expandability."

From an interview with Boom Gaspar and Josh Evans on Keyboard Mag. "For the recording of Lightning Bolt, the rig was completely different, says Evans, and was based on the needs of longtime Pearl Jam producer Brendan O’Brien. 'In the studio, we used a Yamaha C7 grand piano, Hammond B-3 with a Leslie 122, a Korg Triton, and lots of the new digital Mellotron M4000D,' continues Evans. 'Brendan tracks the synths through guitar pedals and analog filters — too many to keep track of here!'"

From an interview with Boom Gaspar and Josh Evans on Keyboard Mag. "The biggest changes have happened on the synth side. When I started with Boom five years ago, he was just using the B-3 and a Kurzweil SP88 for piano sounds. It got the job done, but there wasn’t any room for customizing Boom’s palette of sounds."

From an interview with Boom Gaspar and Josh Evans on Keyboard Mag. "The combination of the grittiness of a vintage B-3, the reliability and quality of the Nord Stage, and the flexibility of the Receptor and [Native Instruments] Kontakt allows Boom to have a good hybrid between vintage keyboard sounds and modern synthesis and expandability."

From an interview with Boom Gaspar and Josh Evans on Keyboard Mag. "The combination of the grittiness of a vintage B-3, the reliability and quality of the Nord Stage, and the flexibility of the Receptor and [Native Instruments] Kontakt allows Boom to have a good hybrid between vintage keyboard sounds and modern synthesis and expandability."

From an interview with Boom Gaspar and Josh Evans on Keyboard Mag. "The B-3 runs through two Leslie speakers, 'a model 45 that sits onstage for Boom to monitor, and a 145 that sits under the stage so that it is sonically isolated from the rest of the sounds,' says Evans. 'The 145 is miked up with two Sennheiser E609 mics on the top rotor and one Sennheiser 421 on the low rotor.'”

From an interview with Boom Gaspar and Josh Evans on Keyboard Mag. "Boom grabs piano and Wurlitzer sounds from a Nord Stage, which he also uses as MIDI controller assigned to channel 16. 'There is also a Novation Impulse 61 controller assigned to MIDI channel 1, and an off-stage M-Audio 25 key controller assigned to channel 5,' says Evans. 'All the MIDI signals are mixed together through a MIDI Solutions QuadraMerge and are then fed into a Muse Receptor 2.'"

From an interview with Boom Gaspar and Josh Evans on Keyboard Mag. "Boom grabs piano and Wurlitzer sounds from a Nord Stage, which he also uses as MIDI controller assigned to channel 16. 'There is also a Novation Impulse 61 controller assigned to MIDI channel 1, and an off-stage M-Audio 25 key controller assigned to channel 5,' says Evans. 'All the MIDI signals are mixed together through a MIDI Solutions QuadraMerge and are then fed into a Muse Receptor 2.'"

From an interview with Boom Gaspar and Josh Evans on Keyboard Mag. "For the recording of Lightning Bolt, the rig was completely different, says Evans, and was based on the needs of longtime Pearl Jam producer Brendan O’Brien. 'In the studio, we used a Yamaha C7 grand piano, Hammond B-3 with a Leslie 122, a Korg Triton, and lots of the new digital Mellotron M4000D,' continues Evans. 'Brendan tracks the synths through guitar pedals and analog filters — too many to keep track of here!'"

From an interview with Boom Gaspar and Josh Evans on Keyboard Mag. "For the recording of Lightning Bolt, the rig was completely different, says Evans, and was based on the needs of longtime Pearl Jam producer Brendan O’Brien. 'In the studio, we used a Yamaha C7 grand piano, Hammond B-3 with a Leslie 122, a Korg Triton, and lots of the new digital Mellotron M4000D,' continues Evans. 'Brendan tracks the synths through guitar pedals and analog filters — too many to keep track of here!'"