Neil Landstrumm

Per Attack Magazine:

"There’s two distinct setups, one for live and one for studio. The studio setup is the Jupiter-6, which I bought in a pawn shop in 1994 in Edinburgh and I think is my favourite piece, a Jupiter-8, an OSCar, a Sequential Circuits Pro-One… The 808 is kind of the core to trigger the analogues. What else have I got? I have a Crane Song STC-8 outboard mastering compressor. I have a 909, but that just collects dust. I’ve got a nice Midas desk, and I’ve got a DX200, which I quite like... It sold terribly. For some reason, Yamaha decided to put a one-bar sequencer in it, but it’s the heart of two or three DX7s, so it’s incredibly powerful as a module. It’s so difficult to use – FM synthesisers all are – but it’s so powerful for bass, particularly the sort of Detroity techno stuff."

His Machinedrum is shown in the "Organized chaos" studio photo in the Attack Magazine, on the desk above the Midas mixer. The all-black frame around the screen shows it's a non-UW model, and the page LEDs at the bottom right look like the mk2 not original.

He also talks about it in his FACT and Skirmish interviews. The FACT one says:

"I use the Monomachine, Machinedrum and Octatrack live on the road and in the studio and, for me, they’re the hands down best instrument manufacturer at the moment."

He talks about using the ESX-1 live in his Skirmish interview:

How does your live set up work?

I’ve developed and adapted it over the years to where it is today. Its still a bit of an effort to drag it around but the hardware sound kicks it out over a big rig.. I use Elektron equipment from Sweden , namely the Monomachine and Machinedrum. The Machinedrum is the master midi clock and the Korg ESX-1 sampler is the next in the chain. After that comes the Monomachine for synth lines and basslines then the Motu Ulralite and Powerbook 12″ running Ableton is stuck on the end. I use Ableton just for throwing in breakbeats, vocals, samples and bits of old tracks etc.

The Korg sampler is where I stuck all the analogue samples and sounds from my Jupiters and Pro One etc. This type of hardware setup keeps the live set quite flexible as each box is independent and can keep running if there is a problem with the mac. Plus you can load different disks and sets on the fly whilst its all running.

He also talks about it briefly in a Metropolis interview:

I’m a live artist only so I just use hardware: Elektron Machinedrum and Monomachine, an old Korg ESX-1 sampler of the analog kit at home, a Yamaha DX-200, Space Echo and a 12″ Powerbook. I just love the sound and impact of the machines. It’s straight to the PA live and direct.

Per Attack Magazine:

"There’s two distinct setups, one for live and one for studio. The studio setup is the Jupiter-6, which I bought in a pawn shop in 1994 in Edinburgh and I think is my favourite piece, a Jupiter-8, an OSCar, a Sequential Circuits Pro-One… The 808 is kind of the core to trigger the analogues. What else have I got? I have a Crane Song STC-8 outboard mastering compressor. I have a 909, but that just collects dust. I’ve got a nice Midas desk, and I’ve got a DX200, which I quite like."

Per his Attack Magazine interview:

" What else have I got? I have a Crane Song STC-8 outboard mastering compressor. I have a 909, but that just collects dust. I’ve got a nice Midas desk, and I’ve got a DX200, which I quite like."

In his 2013 FACT interview he says:

I use the Monomachine, Machinedrum and Octatrack live on the road and in the studio and, for me, they’re the hands down best instrument manufacturer at the moment.

There's a photo of it on page 8.

In his 2013 FACT interview. Talking about his "Elektron suite (Monomachine, Machinedrum & Octatrack)" he says:

“Modern machines. Excellent design, build and sound quality in the spirit of all the classic machines. I use the Monomachine, Machinedrum and Octatrack live on the road and in the studio and, for me, they’re the hands down best instrument manufacturer at the moment. Dig deep into these units, carve out your sounds and you’re handsomely rewarded with drums and synths of strong character, plus they’re small enough to be desktop units. Good all-rounders and what I recommend when anyone asks about what new hardware to buy. The Octatrack is a complex beast though and has a steep learning curve by any stretch. It’s replacing Abelton live for my set-up and it sounds amazing straight out of the box. The warping and control you have over samples inside the unit is limitless and I look forward to developing new sounds and ideas with this unit going forward from this LP.”

There's a photo of it on page 8.

It's also shown on the desk in the "Organized chaos" studio photo in his Attack Magazine interview, on the desk above the Midas mixer.

The studio photo from his Attack Magazine interview shows the Venice 240 under the desk. It is only mentioned briefly:

"I’ve got a nice Midas desk"

Per his Attack Magazine interview:

"There’s two distinct setups, one for live and one for studio. The studio setup is the Jupiter-6, which I bought in a pawn shop in 1994 in Edinburgh and I think is my favourite piece, a Jupiter-8, an OSCar, a Sequential Circuits Pro-One…"

Per his interview with Attack Magazine:

"Yeah, it’s kind of the big pieces and I never tire of them. I always come back to the core of the 808, the Jupiter-6 and the Pro-One. The Jupiter-8, actually, although it’s a lovely piece and I think it’s the best looking synth, it’s a bit limited. It’s lovely and rich and does all those very 80s synth-pop sounds and can sound quite Radiophonic Workshop, but it can’t self-oscillate. It’s almost like it can’t get over the point you want it to."

Per his Attack Magazine interview:

"There’s two distinct setups, one for live and one for studio. The studio setup is the Jupiter-6, which I bought in a pawn shop in 1994 in Edinburgh and I think is my favourite piece, a Jupiter-8, an OSCar, a Sequential Circuits Pro-One…"

Per Attack Magazine, Neil doesn't use his 909 much anymore:

"What else have I got? I have a Crane Song STC-8 outboard mastering compressor. I have a 909, but that just collects dust. I’ve got a nice Midas desk, and I’ve got a DX200, which I quite like."

Per Attack Magazine:

"Yeah, (my current setup is) kind of the big pieces and I never tire of them. I always come back to the core of the 808, the Jupiter-6 and the Pro-One."

In the live video from March 2021 an Analog Four mkI is visible at the bottom left of the shot.

In the live video from March 2021 an Analog Rytm mkI is visible right in the middle of the screen.

Page 11 of his FACT magazine interview shows the SP-1200.

“The classic 12-bit hip hop machine and pretty hard to find now properly working. It’s like Fisher Price decided to make a sampler. You can’t emulate its gritty sound and the way the sequencer shuffles to give that distinctive roots hip-hop swing and feel. Bought on hire-purchase from Rogue Music in New York in the late 90’s but sadly sold recently to pay for Nursery care and tires for the wife’s motor, a break dancing b-boy bloke came all the way from Norway to buy it. Weep.”

Page 10 of his FACT magazine piece shows the Rooster sitting on top of his Crane Song STC-8:

“My tracking and processing combo. You don’t really need to do much with these other than have them on. I run stuff through them into the soundcard to Logic for warmth and sonic quality. The compressor / limiter keeps everything in control and can slam or just massage sounds. The Rooster gives everything a bit of bite and harmonics. I got these in a deal with an ex-hire company along with Madness’s rehearsal mixing desk, a Midas Venice 24.”

In the Attack Magazine interview he says:

I really like Dave Smith’s Evolver, the kind of tiny matrix thing – I think that makes more interesting acid than the 303 does.

You can also see it next to his Monomachine in his FACT magazine piece.

In this YouTube video by Neil landstrumm - boiler room live sheffield, you can see that he used the korg minilogue from 25:45 minutes in the video you can see it best.