Justin Meldal-Johnsen

Justin Meldal-Johnsen highlights the creative potential of the Soundtoys MicroShift plugin on his Instagram, emphasizing its role in crafting limitless combinations by rearranging effects.

Justin Meldal-Johnsen discusses his use of the Soundtoys PrimalTap in an Instagram post, highlighting it as a key tool in his effects rack. He praises its creative flexibility when experimenting with different orderings of effects.

Justin Meldal-Johnsen mentions using the SoundToys Devil-Loc in his creative process on Instagram, highlighting its integration within the Effects Rack for limitless combination possibilities.

devices I love, in an enjoyable pairing

Justin Meldal-Johnsen uses the Rawkworks Light Overdrive pedal in a stereo setup for his JP-8 dual-layer patch, as shown in his Instagram post.

Justin Meldal-Johnsen highlights the Spaceman Effects Sputnik II fuzz pedal on his Instagram, describing it as "a very special and particular device."

Justin Meldal-Johnsen praises the Empress ParaEq on Instagram, expressing admiration for Empress Effects' craftsmanship and sharing that he recently added this pedal to his gear collection.

Justin Meldal-Johnsen showcases the Empress Effects Multidrive Overdrive Guitar Effects Pedal on his Instagram, praising the brand for their exceptional craftsmanship.

this Alexander Space Expander I just grabbed (an exclusive pedal of theirs) is the total biz

Instagram, July-11-2016

sickest bass tone today

On his Instagram account, Justin Meldal-Johnsen shares a photo showcasing his Korg Pitchblack+ pedal, adding context to his collection with the caption, "What? I like phasers."

Featured in this November 24, 2020 Instagram post.

Had to share this, since I know there are very dedicated and discerning music creators and listeners following me here: I’m 100% thrilled with my new @campfireaudio Andromeda Universal in-ear monitors. These are the best IEM’s I’ve heard for true (un-hyped), reference-quality, extremely pleasurable music listening. Bass is gorgeous, mids are perfectly formed and articulate, highs are revealing yet smooth. It is sooo hard to find IEM’s without some version of excessive, unrealistic lows and harsh, sibilant top. After a very short break-in, I started using these right away as one of my key references for the mixing phase of an album I’m producing. That’s a pretty high level of confidence, and I haven’t found any appreciable flaws yet. Summary: highly recommended. #campfireandromeda #iem

On this article, on the Arturia website, Justin Meldal-Johnsen claimed to use Keystep

Mentioned in the official product description.

The BR-2 is already standard equipment for Bass luminaries like Bootsy Collins, Justin Meldal-Johnsen, and TM Stevens as well as Funk Keyboard pioneer Bernie Worrell.

Well, there are a couple of things. These days, I rely a lot on the Moog One. It’s become a real idea machine for me. I find it pretty intuitive and definitely inspirational. I have these little stations set up at my spot, always ready to record, that have become semi-permanent: a few different synth areas, Wurli, Arp Solina, guitar, bass, vocals, percussion, drum machine zone, drum kit, and a pedal chain for inserts. These are meant to be performative and fun places for ideas.

Well, there are a couple of things. These days, I rely a lot on the Moog One. It’s become a real idea machine for me. I find it pretty intuitive and definitely inspirational. I have these little stations set up at my spot, always ready to record, that have become semi-permanent: a few different synth areas, Wurli, Arp Solina, guitar, bass, vocals, percussion, drum machine zone, drum kit, and a pedal chain for inserts. These are meant to be performative and fun places for ideas.

Again, I want it to feel like a somewhat casual space where people can feel free to try stuff. With that, one of the most useful things for me when I’m writing is a fairly intense guitar pedal chain going into a Kemper and a DI. I tend to rely on that a lot. That’s a really easy place for me to get ideas going. That, and probably my EMS Synthi AKS setup too.

I like Shure SM57s and 58s. There’s always a vintage Neumann U67 set up that I can record anything with. I have this cool new mic that’s made by Chandler Limited called the EMI REDD. I love the sound of it, and it seems to never need any EQ. That thing always stays up on a stand, ready to go as well. I’m also very partial to my pair of old Sony C-37As, as well as my Beyerdynamic M 88. I arguably use an M 88 more than I use 57s and 58s. I dig AEA ribbon mics too, like the R-84As.

I like Shure SM57s and 58s. There’s always a vintage Neumann U67 set up that I can record anything with. I have this cool new mic that’s made by Chandler Limited called the EMI REDD. I love the sound of it, and it seems to never need any EQ. That thing always stays up on a stand, ready to go as well. I’m also very partial to my pair of old Sony C-37As, as well as my Beyerdynamic M 88. I arguably use an M 88 more than I use 57s and 58s. I dig AEA ribbon mics too, like the R-84As.

I like Shure SM57s and 58s. There’s always a vintage Neumann U67 set up that I can record anything with. I have this cool new mic that’s made by Chandler Limited called the EMI REDD. I love the sound of it, and it seems to never need any EQ. That thing always stays up on a stand, ready to go as well. I’m also very partial to my pair of old Sony C-37As, as well as my Beyerdynamic M 88. I arguably use an M 88 more than I use 57s and 58s. I dig AEA ribbon mics too, like the R-84As.

I like Shure SM57s and 58s. There’s always a vintage Neumann U67 set up that I can record anything with. I have this cool new mic that’s made by Chandler Limited called the EMI REDD. I love the sound of it, and it seems to never need any EQ. That thing always stays up on a stand, ready to go as well. I’m also very partial to my pair of old Sony C-37As, as well as my Beyerdynamic M 88. I arguably use an M 88 more than I use 57s and 58s. I dig AEA ribbon mics too, like the R-84As.

I like Shure SM57s and 58s. There’s always a vintage Neumann U67 set up that I can record anything with. I have this cool new mic that’s made by Chandler Limited called the EMI REDD. I love the sound of it, and it seems to never need any EQ. That thing always stays up on a stand, ready to go as well. I’m also very partial to my pair of old Sony C-37As, as well as my Beyerdynamic M 88. I arguably use an M 88 more than I use 57s and 58s. I dig AEA ribbon mics too, like the R-84As.

I use API 550As and 560s every day. I’m so glad 560s have become such a standard. I remember when I was starting out, they were this kind of oddball EQ that you would use only on the kick drum or something. I tend to use them on anything. Another one of my favorite EQs are the 70’s era Moog three-band parametrics, which I have a pair of. Those are great-sounding and still relatively affordable. They’re not subtle sounding, and impart quite a bit of character, which is cool.

I use API 550As and 560s every day. I’m so glad 560s have become such a standard. I remember when I was starting out, they were this kind of oddball EQ that you would use only on the kick drum or something. I tend to use them on anything. Another one of my favorite EQs are the 70’s era Moog three-band parametrics, which I have a pair of. Those are great-sounding and still relatively affordable. They’re not subtle sounding, and impart quite a bit of character, which is cool.

I have an Inward Connections TSL-4, which is a stereo limiter that’s vaguely like an LA-2A circuit. Have you ever heard people say “I just run stuff through it and it makes it sound better”? I had never really subscribed to that, it seemed like one of those glib, catch-all phrases like describing gear that “sounds musical”. But that particular box does something cool to signals even if I just have it on bypass. Transformers, tubes... I don’t know what it is, but I like it. It’s a fixed attack so it’s pretty slow but it sounds so good.

I also have some Overstayer Imperial Channels [Model 8776A] that have a compressor circuit in them that sound phenomenal. Those have a real sonic imprint. I have a Retro 176, that’s great for fast attack stuff. I have a Purple Audio MC77, that I also dig, though it does tend to make things very dark. Distressors, even. Super useful.

I also have some Overstayer Imperial Channels [Model 8776A] that have a compressor circuit in them that sound phenomenal. Those have a real sonic imprint. I have a Retro 176, that’s great for fast attack stuff. I have a Purple Audio MC77, that I also dig, though it does tend to make things very dark. Distressors, even. Super useful.

I also have some Overstayer Imperial Channels [Model 8776A] that have a compressor circuit in them that sound phenomenal. Those have a real sonic imprint. I have a Retro 176, that’s great for fast attack stuff. I have a Purple Audio MC77, that I also dig, though it does tend to make things very dark. Distressors, even. Super useful.

Preamp-wise I guess I would go to the BAE 1084s. They seem to work on most singers. Then I would use a fast attack compressor like the Retro 176. Lastly, I would probably use that Inward Connections TSL4 on the back of the chain. All that put together seems like a solid basic chain.