Gregor Tresher

In his studio, there is komplete 7 box.

In his studio there is melodyne box.

In his studio, on the screen.

This is my most important synthesiser at the moment. I bought the main module in France last year and the expander a couple of months later in Los Angeles. It’s a semi-modular synth that was built in 1976, the same year I was born. I really like the fact that it has been on this planet as long as I have, and now – 37 years later – we make music ‘together’.

I use the Mono/Poly a lot. It’s the lead sound on a lot my of my records. I bought it in South Germany many years ago and I like it for its filter and also for its very fat sound when using all four VCOs.

Like many producers in electronic music I wanted to own my own Moog synth from the beginning. So the Minimoog was one of the first synths I bought when I started to make a little money with my music. I used it a lot in my early productions. My first records under my real name featured sawtooth basslines a lot. This is the synth I made them with. I have to have it serviced, though – it’s not very stable now. That’s why I bought the Voyager two years ago – to have a fully functional Moog synth when I need one. I’m not using it a lot nowadays but I will never sell my Minimoog as it was my first real proper synth.

Like many producers in electronic music I wanted to own my own Moog synth from the beginning. So the Minimoog was one of the first synths I bought when I started to make a little money with my music. I used it a lot in my early productions. My first records under my real name featured sawtooth basslines a lot. This is the synth I made them with. I have to have it serviced, though – it’s not very stable now. That’s why I bought the Voyager two years ago – to have a fully functional Moog synth when I need one. I’m not using it a lot nowadays but I will never sell my Minimoog as it was my first real proper synth.

In this photo, his studio.

In his studio, on his desk.

In this video at 5:58 in his studio.

This little, easy-to-use sequencer has been an integral part of my production for the last year. Ever since I bought it it really changed my way of composing. It’s the most important machine in my Cocoon and Drumcode releases last year, on which I sequenced the main synth lines with it. I basically record hours of variations while tweaking it live and then edit the best parts.

In his studio, there is.

In his studio, there is.

In his studio, there is.