Mr. Scruff

"A tea kettle, an [Akai] MPC 60, and the E-mu 6400 sampler. I have a very small studio, and along with that I use the [E-mu] SP-1200. They’re both very old pieces of equipment from about 1987. They’re both mono. The quality of the sampling on the SP and the MPC is quite low, so any sample you put in there comes out the other end with the sound of that machine. The MPC has a bit more memory, it’s a bit more versatile, and the SP is very brutal, very gritty, and it has a great rock solid feel, even though when you analyze it the groove is actually quite wobbly. [The limited sampling rates] help me create a style rather than wallowing around in a laptop that’s got unlimited everything and 2,000 plug-ins and every keyboard ever made. I prefer to acquaint myself with two or three bits of equipment that are quite limiting, and just push those and that limit." - Mr. Scruff in the Studio

A box for an AudioFire 4 can be spotted atop Mr. Scruff’s record shelf in this May 21, 2014 Fuse “Crate Diggers” interview at 3:25.

"A tea kettle, an [Akai] MPC 60, and the E-mu 6400 sampler. I have a very small studio, and along with that I use the [E-mu] SP-1200. They’re both very old pieces of equipment from about 1987. They’re both mono. The quality of the sampling on the SP and the MPC is quite low, so any sample you put in there comes out the other end with the sound of that machine. The MPC has a bit more memory, it’s a bit more versatile, and the SP is very brutal, very gritty, and it has a great rock solid feel, even though when you analyze it the groove is actually quite wobbly. [The limited sampling rates] help me create a style rather than wallowing around in a laptop that’s got unlimited everything and 2,000 plug-ins and every keyboard ever made. I prefer to acquaint myself with two or three bits of equipment that are quite limiting, and just push those and that limit." - Mr. Scruff in the Studio

From his XLR8R "In The Studio" interview:

A tea kettle, an [Akai] MPC 60, and the E-mu 6400 sampler. I have a very small studio, and along with that I use the [E-mu] SP-1200. They’re both very old pieces of equipment from about 1987. They’re both mono. The quality of the sampling on the SP and the MPC is quite low, so any sample you put in there comes out the other end with the sound of that machine. The MPC has a bit more memory, it’s a bit more versatile, and the SP is very brutal, very gritty, and it has a great rock solid feel, even though when you analyze it the groove is actually quite wobbly.