Olafur Arnalds

The centrepiece of Arnalds' studio is his 1903 Bechstein piano. "It was just restored,” he points out, "so everything inside of it is kind of brand new. But the whole body has the character of a 110-year-old piano.

"...miked with pairs of Coles 4038s or Neumann KM84s, is central to most of Ólafur Arnalds' recordings."

Visible especially in the latter part of this video!

Seen at 1:50. Seen in many live shows.

Seen clearly at the 2:05 minute mark.

I also have an old Korg MS10 which is falling apart. I use it mostly for bass and if there's some rhythmic stuff. And of course, that filter is just the best filter ever made.

Korg PolySix - not much used. I love it though. I only bought it for one sound. There's this one sound that you will hear a lot. In my stuff on "For Now I Am Winter", like kind of an ambient wave, and also in a lot of Kiasmos songs.

Mentioned at 21:40 in the video. "It's pretty much the only actual polyphonic synth ever made cause it has an oscillator for every key."

"This is used on everything basically..."

"I think they really just fit my sound. The 106 I use if I really need to MIDI program something, the 60 if I can play it. I prefer the sound of the 60. It's easy to make a Juno work with strings. If you put the filter really low, they become really warm and soft. I almost always track them through the [Roland RE201] Space Echo — it's like my automatic thing — and that combination, it always works. And it works wonderfully along with strings and piano."

"Then I have an old Jen [SM-2007] string machine. They're really rare these days, but they're really wonderful. It really sounds like Air. I think it was originally marketed as a consumer product. It has really simple settings like Cello, Viola, Violin and it has these really super-bright, fantastic-sounding string sounds. It's horrible in a way but it's very beautiful in its horribleness.”

”The Access Virus was my first ever synthesizer, it's kind of crap but I like to keep it there.”

"This is my string machine corner, with the Delta and the Jen"

The above article describes Arnalds using this mic in his studio.

The above article describes Arnald using this kind of mic.

"When it comes to microphones, Arnalds relies mostly on a pair of Neumann KM84s that he bought from the estate of Hansa Studios owner Peter Meisel. He is tickled by the notion that they were most likely used on some of the classic albums made in Berlin by the likes of David Bowie and U2. "They're in perfect shape and they're marked with his name,” he says. "They're my go-to condensers, but I also have a pair of Coles 4038 [ribbons], which I use a lot on the piano.”"

"When recording Arnarson, Arnalds put up two microphones: an AKG C12A and a Telefunken AK47 Mk II with an M9 capsule, both fed through API 512 preamps. "Then in the mix, depending on the song,” he explains, "I just chose which mic to use. I ended up using the Telefunken in three songs and the C12 on 'A Stutter'."

"When recording Arnarson, Arnalds put up two microphones: an AKG C12A and a Telefunken AK47 Mk II with an M9 capsule, both fed through API 512 preamps. "Then in the mix, depending on the song,” he explains, "I just chose which mic to use. I ended up using the Telefunken in three songs and the C12 on 'A Stutter'."

On the top PC monitor

On the Left Hand PC Monitor

"In terms of in-the-box effects, Arnalds is a great lover of UAD plug-ins, particularly the EMT 250 reverb and the Moog Multimode Filter. "I do a lot of side-chain filtering,” he says. "I might have a drum beat and send it out to an external bus as well with a filter and distortion and just layer that on top of the drum beat to give it a little bit more character and life. I like the Sound Toys Decapitator for distortion.”"

"In terms of in-the-box effects, Arnalds is a great lover of UAD plug-ins, particularly the EMT 250 reverb and the Moog Multimode Filter. "I do a lot of side-chain filtering,” he says. "I might have a drum beat and send it out to an external bus as well with a filter and distortion and just layer that on top of the drum beat to give it a little bit more character and life. I like the Sound Toys Decapitator for distortion.”"

"I might have a drum beat and send it out to an external bus as well with a filter and distortion and just layer that on top of the drum beat to give it a little bit more character and life. I like the Sound Toys Decapitator for distortion.”

The above article describes Arnalds using this to EQ compression.

I'm pretty sure that's what this controller is on top of his keyboard! Someone please correct me if I'm wrong!!

Can be seen throughout video in front of two pc monitors

At the start of the video above the Blue tube tech equipment

At the start of the video to the left of the midi keyboard you can see the controller for this device