Norman Cook

"With my pay-off from the Housemartins, I invested in a proper desk, a little eight-track reel-to-reel, and an Atari [ST computer]. Eventually I got an [Akai] S900 and then an S950. The S900 was fairly rudimentary. The S950 you could and still can do pretty much anything you want.”

"With my pay-off from the Housemartins, I invested in a proper desk, a little eight-track reel-to-reel, and an Atari [ST computer]. Eventually I got an [Akai] S900 and then an S950. The S900 was fairly rudimentary. The S950 you could and still can do pretty much anything you want.”

"With my pay-off from the Housemartins, I invested in a proper desk, a little eight-track reel-to-reel, and an Atari [ST computer]. Eventually I got an [Akai] S900 and then an S950. The S900 was fairly rudimentary.

“I also had a [Studio Electronics] SE1 which was basically a Minimoog that had memories and MIDI, a Roland Sound Canvas just for traditional instruments — cymbals and things like that — and obviously a 303.”

Can be seen in the pic on the middle of the second shelf

"On most of the tunes, the [Roland TB]303 and the bass line were the only things that were actually played in a traditional way. The rest of it was gross manipulation of samples.”

“I also had a [Studio Electronics] SE1 which was basically a Minimoog that had memories and MIDI, a Roland Sound Canvas just for traditional instruments — cymbals and things like that — and obviously a 303.”

At this time, Cook was using a Soundcraft desk and monitoring through a pair of Auratones during the writing phase and Yamaha NS10s when it came to mixing. “I had four flatmates,” he remembers, “and you can’t work at any volume. So I worked on Auratones, the same pair of which I still use now, and you could feel when the bottom end was there, but it didn’t go through to other people’s bedrooms. Then when it came to mixdown, I would go onto NS10s. I would say to everyone, ‘Look, sorry, I’m mixing tonight, so I’ve got to actually play this at volume just to check the bottom end.’”

At this time, Cook was using a Soundcraft desk and monitoring through a pair of Auratones during the writing phase and Yamaha NS10s when it came to mixing. “I had four flatmates,” he remembers, “and you can’t work at any volume. So I worked on Auratones, the same pair of which I still use now, and you could feel when the bottom end was there, but it didn’t go through to other people’s bedrooms. Then when it came to mixdown, I would go onto NS10s. I would say to everyone, ‘Look, sorry, I’m mixing tonight, so I’ve got to actually play this at volume just to check the bottom end.’” Both NS10 & NS10M can be seen in the pic.

At this time, Cook was using a Soundcraft desk and monitoring through a pair of Auratones during the writing phase and Yamaha NS10s when it came to mixing. “I had four flatmates,” he remembers, “and you can’t work at any volume. So I worked on Auratones, the same pair of which I still use now, and you could feel when the bottom end was there, but it didn’t go through to other people’s bedrooms. Then when it came to mixdown, I would go onto NS10s. I would say to everyone, ‘Look, sorry, I’m mixing tonight, so I’ve got to actually play this at volume just to check the bottom end.’” Both the NS10 & NS10M can be seen in the pic.

Before it was like, ‘What can I get out of a 909? What can I get out of a 303?’ The TR909 can also be seen in the pic.

Can be seen in the middle of the pic, above the Nord

In the Sound On Sound article "Classic Tracks: Fatboy Slim ‘Praise You’," Norman Cook is shown using the Clavia Nord Rack 2.

Can be seen in the pic on the second shelf on the left, next to the Roland Space Echo.

In the video at 7:22, you can clearly see it in the rack.

In the video at 7:22, you can clearly see it in the rack.

In the video at 7:22, you can clearly see it in the rack.

In the video at 7:22, you can clearly see it in the rack.

In the video at 7:22, you can clearly see it in the rack.

In the video at 7:22, you can clearly see it in the rack.

In the video at 7:42, you can clearly see it in the rack.

Inside the cover of the album "You’ve Come A Long Way, Baby", on the top left, behind the 909

Inside the cover of the album "You’ve Come A Long Way, Baby", on the bottom left is the JD-800

Norman cook playing fender bass p onstage