Labrinth

Labrinth on the melody of Frisky "I used the JX3P for the melody, too, and layered it with a sound from the Rob Papen Blue VSTi."

In an Instagram post, Labrinth is shown using Apple Logic Pro X while working in the studio.

In this photo, one can see Labrinth using a Ovation Celebrity CC44S-AB acoustic.

In the Soundonsound article "Labrinth: Producing Tinie Tempah," Labrinth is shown using the Korg MicroKORG Synthesizer/Vocoder among his collection of keyboards.

Talking about producing pass out: "The whole song had one bass note and a third above it, almost like trance. The synth sound was a [Korg] Polysix, and I layered in a Nintendo?style 8?bit sound on top."

"With 'Frisky', we went for a similar vibe to 'Pass Out', but this time I just used a bass from my Roland JX3P, an old?school '80s keyboard."

In the Soundonsound article "Labrinth: Producing Tinie Tempah," Labrinth is seen using the Roland JP-8000 Synthesizer among his collection of keyboards.

In a feature on Soundonsound titled "Labrinth: Producing Tinie Tempah," Labrinth is shown using the Roland JD-800 Synthesizer, highlighting its role in his creative process.

In an interview featured in Sound On Sound's article "Labrinth: Producing Tinie Tempah," an image shows Labrinth's Clavia Nord Lead 2 Synthesizer among his collection of keyboards.

In the Sound on Sound article "Labrinth: Producing Tinie Tempah," an image from the "Pass Out" interview showcases Labrinth's use of the Korg Trinity synthesizer.

"I like a bit of my Albinos [Rob Papen's VST Instrument], Minimoogs, MS20s — I like old vintage keyboards."

Labrinth says "ometimes I'll use the outboard synths like the Nord Lead or Jupiter"

"When Labrinth works with other artists, he always does so with them in his studio, and has them singing by his side in the control room into a Brauner Valvet mic."

"has them singing by his side in the control room into a Brauner Valvet mic. This passes through either an Avalon VT737 or his Neve Portico preamp into an Apogee Rosetta A?D"

"has them singing by his side in the control room into a Brauner Valvet mic. This passes through either an Avalon VT737 or his Neve Portico preamp into an Apogee Rosetta A?D"

"has them singing by his side in the control room into a Brauner Valvet mic. This passes through either an Avalon VT737 or his Neve Portico preamp into an Apogee Rosetta A?D"

On current projects "Most audio that is recorded at Labrinth's studio passes through either the Avalon VT737SP voice channel (top) or the Neve Portico 5032 (centre) and into the Apogee Rosetta converter. Other outboard includes two Roland SDE2000 delays, Lexicon PCM80 reverb, BBE 422A Sonic Maximizer, MXR Digital Time Delay, Control Synthesis Deep Bass Nine and Drawmer DS201 gate."

On current projects "Most audio that is recorded at Labrinth's studio passes through either the Avalon VT737SP voice channel (top) or the Neve Portico 5032 (centre) and into the Apogee Rosetta converter. Other outboard includes two Roland SDE2000 delays, Lexicon PCM80 reverb, BBE 422A Sonic Maximizer, MXR Digital Time Delay, Control Synthesis Deep Bass Nine and Drawmer DS201 gate."

Taking in an interview on his production of Pass out: "In the reggae section I wanted some of that old?school way of doing it, and I played it in on a Fender Precision with one of the settings on Amplitube."

On current projects "Most audio that is recorded at Labrinth's studio passes through either the Avalon VT737SP voice channel (top) or the Neve Portico 5032 (centre) and into the Apogee Rosetta converter. Other outboard includes two Roland SDE2000 delays, Lexicon PCM80 reverb, BBE 422A Sonic Maximizer, MXR Digital Time Delay, Control Synthesis Deep Bass Nine and Drawmer DS201 gate."

On current projects "Most audio that is recorded at Labrinth's studio passes through either the Avalon VT737SP voice channel (top) or the Neve Portico 5032 (centre) and into the Apogee Rosetta converter. Other outboard includes two Roland SDE2000 delays, Lexicon PCM80 reverb, BBE 422A Sonic Maximizer, MXR Digital Time Delay, Control Synthesis Deep Bass Nine and Drawmer DS201 gate."

On current projects "Most audio that is recorded at Labrinth's studio passes through either the Avalon VT737SP voice channel (top) or the Neve Portico 5032 (centre) and into the Apogee Rosetta converter. Other outboard includes two Roland SDE2000 delays, Lexicon PCM80 reverb, BBE 422A Sonic Maximizer, MXR Digital Time Delay, Control Synthesis Deep Bass Nine and Drawmer DS201 gate."

Talking current projects "This passes through either an Avalon VT737 or his Neve Portico preamp into an Apogee Rosetta A?D, then into an Apple G5 running Logic."

In the attached article from Sennheiser's website, they detail Labrinth's regular use of Sennheiser equipment, and shares about the Sennheiser gear that he uses on a tour of his. The article shares, "The tour took in Academy-sized venues and included eight sets of Sennheiser ew 300 G3 in-ear monitors, an AC3200 IEM combiner, two ew 572 G3 guitar systems and a pair of ew 500-935 handheld microphone systems."

In the attached article from Sennheiser's website, they detail Labrinth's regular use of Sennheiser equipment, and shares about the Sennheiser gear that he uses on a tour of his. The article shares, "The tour took in Academy-sized venues and included eight sets of Sennheiser ew 300 G3 in-ear monitors, an AC3200 IEM combiner, two ew 572 G3 guitar systems and a pair of ew 500-935 handheld microphone systems." Monitor engineer Ross McGroggan has been using Sennheiser equipment for a number of years and he was more than happy to continue to share, “The reliability and sound quality of Sennheiser equipment are second to none,” he says. “I’ve never had a single problem with their in-ear systems and the 935 is an excellent microphone. It’s really the best suited to our application - very durable and you can get a lot out of it before feedback."