Klaus Schulze

Klaus Schulze uses the Alesis MIDIVerb 4, as listed on his official instruments page.

"I still love my Roland SRV-2000 and 3030 and my TC Electronic M-One 19-inch reverbs, the Lexicon 480L with the LARC, and of course, most important, the Roland RSP-550s, of which I have a bunch. These are the main effects I use all the time for the more prominent instruments. They create the rooms and reverb positionings and, of course, the delay cascades for most of the sequencers."

"I still love my Roland SRV-2000 and 3030 and my TC Electronic M-One 19-inch reverbs, the Lexicon 480L with the LARC, and of course, most important, the Roland RSP-550s, of which I have a bunch. These are the main effects I use all the time for the more prominent instruments. They create the rooms and reverb positionings and, of course, the delay cascades for most of the sequencers."

Klaus Schulze uses the Alesis CLX-440 limiter and compressor, as detailed in the "Klaus Schulze's Instruments" section on his official website.

Klaus Schulze utilizes three Roland SRV-2000 MIDI Digital Reverbs in his setup, as detailed on the "Klaus Schulze's Instruments" page.

Klaus Schulze utilizes the Roland SRV-330 Dimensional Space Reverb, as listed on the Klaus Schulze's Instruments page.

Klaus Schulze utilizes the SPL Vitalizer MK2, as listed on the "Klaus Schulze's Instruments" page.

Atari 1040 ST, Atari Mega ST 4, Roland: Super JX 10, S 50, D 50, MKS 80, MKS 30, U 110, MPG 80; Akai X 7000, Fairlight, Yamaha TX 81 Z, Akai S 612, Korg DVP 1, Roland SRV 2000, Korg SDD 1200, Ibanez SDR 1000, Eventide Harmonizer, 3x Hohner HS-1/E, 2x Klark EQ, Arsonic-Sigma 5.2, EMS Synthi A, and others...

"I still love my Roland SRV-2000 and 3030 and my TC Electronic M-One 19-inch reverbs, the Lexicon 480L with the LARC, and of course, most important, the Roland RSP-550s, of which I have a bunch. These are the main effects I use all the time for the more prominent instruments. They create the rooms and reverb positionings and, of course, the delay cascades for most of the sequencers."

"I still love my Roland SRV-2000 and 3030 and my TC Electronic M-One 19-inch reverbs, the Lexicon 480L with the LARC, and of course, most important, the Roland RSP-550s, of which I have a bunch. These are the main effects I use all the time for the more prominent instruments. They create the rooms and reverb positionings and, of course, the delay cascades for most of the sequencers."

Using a cheap Teisco organ, guitars, tapes with Dynacord echo, a 4-track Telefunken recorder alongside a cheap Telefunken 3-channel Echomixer, Schulze crafted the strange Irrlicht (literally: eerie light) in 1972. Cool and strangely ahead of Brian Eno's similar Discreet Music of three years later, this was quiet music of the minimalist droning variety.

In 1986 Schulze installed fully digital 24-track recording recording equipment, and by this time was getting heavily into MIDI and sampling. Rack mounted synths from Korg were added, plus Akai samplers. A Korg DVP-1 digital voice processor, and a Publison Infernal Machine 90 (a powerful sampler/digital effects system). This all featured, along with the Fairlight, on Dreams, its hi-tech sound and contrasting moods blueprinting the current Schulze sound.

"The desk is a Soundcraft 92-channel, with two power supplies because of its size. I use Arsonic Sigma noise reduction and gain control to avoid digital distortion, very important. EMT reverbs. Effects are varied: Dynacord DRP20, a very cheap but good Boss analogue delay, an Eventide Harmonizer, BGW amplification with RTV correlation and peak limiter. I record on a Tascam DAT at home and in concert. There's no analogue recording. I use an Atari Mega ST4, upgraded to 26MB of RAM, with a 105MB hard disk. I need that for my 60 minute pieces. Now the opera is about 104 minutes, and I need a lot of working capacity because I cannot break off at a point to access the hard disk. Everything has to be immediately accessible."

"Well, it's the best for sampling and live. And of course, don't forget the MiniMoog. The S1000 has got very long samples, but it has got limitations. I mean it's only got 16 voices — I put a lot of my samples through Roland's Sound Space system which gives them a 'sensaround' effect live. This means that they are in stereo, which cuts your voices on the Akai to eight. Play a long Russian chorus for two bars, and you're left with only four voices. Play a few more things and you are out of voices — you get digital crackings, the machine stealing from itself and so forth. Its capacity is limited. At London and Cologne I made up for it by using a minimum of stereo samples, instead putting mono string and flute samples through automatic panning effects. Another thing — if there was a machine failure it would take seven minutes to re-load the Akai from DAT-ROM. That's why I have the Prophet 2000 as a backup, so if it happened I can make bridging sequences. Just press one key. In future I'd like to use two S1000s on stage, plus of course the MiniMoog."

From the February 1993 issue of Sound on Sound, Klaus Schulze's equipment list includes:

EMT 250/251 reverbs AKG ADR 68K reverb + editor Yamaha SPX1000 multi-effects Roland SRV2000 reverb Korg SDD1200 Korg SDD3000 Korg DVP1 harmoniser Ibanez SDR 1000 Boss SE50 Eventide Harmonizer Moog 16-channel Vocoder

From the February 1993 issue of Sound on Sound, Klaus Schulze's equipment list includes:

EMT 250/251 reverbs AKG ADR 68K reverb + editor Yamaha SPX1000 multi-effects Roland SRV2000 reverb Korg SDD1200 Korg SDD3000 Korg DVP1 harmoniser Ibanez SDR 1000 Boss SE50 Eventide Harmonizer Moog 16-channel Vocoder

From the February 1993 issue of Sound on Sound, Klaus Schulze's equipment list includes:

EMT 250/251 reverbs AKG ADR 68K reverb + editor Yamaha SPX1000 multi-effects Roland SRV2000 reverb Korg SDD1200 Korg SDD3000 Korg DVP1 harmoniser Ibanez SDR 1000 Boss SE50 Eventide Harmonizer Moog 16-channel Vocoder

From the February 1993 issue of Sound on Sound, Klaus Schulze's equipment list includes:

EMT 250/251 reverbs AKG ADR 68K reverb + editor Yamaha SPX1000 multi-effects Roland SRV2000 reverb Korg SDD1200 Korg SDD3000 Korg DVP1 harmoniser Ibanez SDR 1000 Boss SE50 Eventide Harmonizer Moog 16-channel Vocoder

From the February 1993 issue of Sound on Sound, Klaus Schulze's equipment list includes:

EMT 250/251 reverbs AKG ADR 68K reverb + editor Yamaha SPX1000 multi-effects Roland SRV2000 reverb Korg SDD1200 Korg SDD3000 Korg DVP1 harmoniser Ibanez SDR 1000 Boss SE50 Eventide Harmonizer Moog 16-channel Vocoder

From the February 1993 issue of Sound on Sound, Klaus Schulze's equipment list includes:

EMT 250/251 reverbs AKG ADR 68K reverb + editor Yamaha SPX1000 multi-effects Roland SRV2000 reverb Korg SDD1200 Korg SDD3000 Korg DVP1 harmoniser Ibanez SDR 1000 Boss SE50 Eventide Harmonizer Moog 16-channel Vocoder

From the February 1993 issue of Sound on Sound, Klaus Schulze's equipment list includes:

EMT 250/251 reverbs AKG ADR 68K reverb + editor Yamaha SPX1000 multi-effects Roland SRV2000 reverb Korg SDD1200 Korg SDD3000 Korg DVP1 harmoniser Ibanez SDR 1000 Boss SE50 Eventide Harmonizer Moog 16-channel Vocoder