Meat Beat Manifesto

"Then I added synth from the studio’s Roland JX-3P. And the vocal hiccup sound was a bit of trapped audio in the Neve AMS. Every ’80s studio seemed to have one."

"“There’s so much new stuff, you can’t keep up with it all. All the software, it’s impossible. So, I’m definitely more of a vintage person, but I’ve been using logic since it came out, and I’m pretty good at using that program with some Elektron things like the Machine Drum and Analog Four."

"Out of the studio and on to the stage, the emphasis falls on sampling. A fully-expanded Akai S1000 does most of the hard work (Dangers calls it "the brain") in conjunction with a pair of Octapads. Additionally there's a Korg M1, a Yamaha RX5 for certain drum duties, and a Roland MC500 MkII sequencer."

"We bought the first 12-bit Emax, and you can go down so low on it, the quality is like a photocopy. It gives it that graininess, a quality you can get from no other sampler. You can go down all the way on the Akai, and the quality is nowhere near as grainy as the Emax. So photocopying, imaging and repetition - it's the same as looping a sample. And you're taking it from a commercially available source."

Visible from 4:04 in the video.

"The vocals on this are going through the Roland VP-330 Vocoder, which was a rackmounted version they had in the studio we used in Yorkshire called The Slaughterhouse. It really added something."

"We've got a digital synthesiser, the Korg Wavestation, but we don't really listen to it. There are obviously more permutations to what you can do with something like a Wavestation, but if you're working in real time it's not so user-friendly."

"We spent a day learning how to use the Wavestation," says Jonny, "and we've never actually used one of the sounds. "

Appears from 0:45 in the video

Appears from 1:22 in the video

As listed in this 1993 interview on the Music Magazine Archive