Orgue Electronique

Tascam M-3700 is standing in the back of the video. https://www.youtube.com/watch?v=0EpE3DaObI4

Telefunken M15a is installed in this video, at the left. https://www.youtube.com/watch?v=0EpE3DaObI4

• Again, a semi pro recorder based on a consumer model. But unlike the Teac where the difference in speed is really makes a sonic difference, the PR99 is not much different to the 2 Track High Speed B77 (B77HS). If Teac Tascam made things confusing, Revox made things incomprehensible. Of the B77 more than 60 versions where available for a wide range of purposes. The PR99mkIII was focused on the semi pro market and was mostly used for broadcasting and editing, as the tape is much easier to reach than on the regular B77. It has balanced connectors and (except for the MKI model) the PR99 has a more sophisticated transport controls with for instance loop function, location memory / zero return and tape dump. Apperently in the early 1990s the PR99 has been available as the Studer PR99. That's not completely surprising, as the mkIII version followed the mkII only to fit the looks of the new Studer line (A810, A820, etc) together with the then newly introduced Revox C270 series.

• In essence, this is simply a different looking Teac X10m. Except for the looks there's only one major difference: this Tascam can only record at 7,5 ips and 15 ips, which makes it more suitable for the studio than the X10m. You can find this recorder labeled as the Tascam 32-2 as well, cause apparently Teac didn't change it's studio brandname into Tascam for all markets. There was also the Teac Tascam Series 32-2B, which isn't much different from the 32-2 except for it's layout, and it has record mode buttons for the left channel and right channel rather then just one record mode button for both channels. A 7" reel version was also build, called the 22-2. Don't confuse any of these with the Tascam 32 and 32B, those are different recorders alltogether (first thing that you can notice from a mile away is that the Tascam 32 has only one pinchroller). And to make matters even more confusing: the Tascam 32 was sold as the Teac Tascam Series 33-2...

The D&R Dayner, the latest acquisition of the Sternstudio's, is a modular mixer build and designed in Holland in the late 80's till early 90's. The D&R Dayner came in five 'chassis frames' sizes, holding either 21, 31 42, 59 or 84 modules (and you could choose between either a desktop frame or a 'studio' frame). There were 4 different types of modules to choose from: line channel, split channel, a patchbay and a tape return module with 4 tape returns, and ofcourse you had the extensive master module with 8 aux sends (which takes the room of 3 modules and can be placed anywhere in the frame). The most beautiful feature of this (and some other-) D&R's is the 'floating subgroup' system, which allows you to have the 8 subgroups where you want them instead of on a fixed place on the board, and it also allows you to have as many summed outputs as you need, limited only by the number of input modules in your frame. There where two types of channel modules. A line module with line input, mic input, channel insert, group insert and tape send, effectively 5 aux sends (where aux 3,4, 5 are switchable to aux 6,7,8), phase, phantom, six segment LED bar, a semi paramteric EQ, ALP fader and the floating subgroup system. The other type of module was the split module, which could be split into 2, allowing you to have equalization on both inputs, on the same channel, at the same time. During it's lifespan, D&R revised the Dayner atleast once. Old modules have the old square looking DR logo (without the & ), newer modules have a new logo (with the & imposed on the D and the R).

The mixer is extremely quiet. In comparence to my old D&R 900, the Dayner isn't noisy at all and has lots of headroom. It's not as woolly sounding, more transparent, but still with a certain character. Perhaps it won't do much good in a modern pro-studio, but considering todays prices, I think the Dayner is definitely favourable above the typical home stiudio mxers such as Behringers and Mackies.

If you want to buy one, there's some things you should know. If you encounter one with humming or a crackling sound, either the ribbon cables that connect the different modules are screwed up, or there's something wrong with the PSU (the 59 and 84 chassis systems require two PSU's). As far as I can tell there is no audible difference between the old line modules wit the old logo and the revised ones, nor is there a difference between the build of these line modules, except in the ribbon cables. Still it is advisable to find the newer modules with the new logo rather then the old ones. Even if there's no technical difference at all (which I'm not sure of), there is still the difference in age. Speaking of age: if you buy one, always consider the fact that is an old console; there's always something that should be replaced or cleaned and redoing the solder joints is something you'll do often and a lot of parts like pots are obsolete. If you don't want to spend some time with a soldering iron once in a while, better search for something new.

Wie die DR660 aber anders.

Work that ... Very distinct sound and rather unreliable but that makes it so great. Stay away from programming cliché rhythms on this one, it's a weird machine so better use it for weird drumtracks.

Forget about the 909. The Roland TR707 and 727 are the ultimate Chicago House drum machines. 64 patterns, 998 bars, step edit whilst you play the sequence, a nice big display that shows you the entire pattern in one single view (note: it is a shame it has no backlight), trigger output, din-sync in/out, midi (-sync) in and out, shuffle and flam... All in all, more than enough to satisfy your drum-sequencing needs. The 707’s 15 drum sounds are too cool to ignore. Nice and punchy bassdrums and snaredrums and a set of gritty hi-hats, funky rides and ear crushing crash cymbals… The samples in this budget machine rock beyond believe. Add the 727 to your 707 and you’ll be jacking it latino style like Mario ‘Smoking’ Diaz or playing it as smooth as Mr. Fingers with 15 more percussion sounds. Better get a big mixer if you are one of those control freaks; almost every sound has it’s own individual output… But then again… why bother? The volume sliders for each sound give you enough control, so you might as well use the stereo output. But hey, at least you have a choice!

Forget about the 909. The Roland TR707 and 727 are the ultimate Chicago House drum machines. 64 patterns, 998 bars, step edit whilst you play the sequence, a nice big display that shows you the entire pattern in one single view (note: it is a shame it has no backlight), trigger output, din-sync in/out, midi (-sync) in and out, shuffle and flam... All in all, more than enough to satisfy your drum-sequencing needs. The 707’s 15 drum sounds are too cool to ignore. Nice and punchy bassdrums and snaredrums and a set of gritty hi-hats, funky rides and ear crushing crash cymbals… The samples in this budget machine rock beyond believe. Add the 727 to your 707 and you’ll be jacking it latino style like Mario ‘Smoking’ Diaz or playing it as smooth as Mr. Fingers with 15 more percussion sounds. Better get a big mixer if you are one of those control freaks; almost every sound has it’s own individual output… But then again… why bother? The volume sliders for each sound give you enough control, so you might as well use the stereo output. But hey, atleast you have a choice!

The little machine that you will instantly recognize in a lot of them Dance Mania records. A Roger Linn design that will take you to ghetto paradise.

No quote or explanation available yet.

No quote or explanation available yet.

No quote or explanation available yet.

At start it's a bit hard to grasp all it's functions, but once you get into this machine it will prove to be a very good live sequencer. It has pretty bad but fun internal sounds and a quite good sampler, which are nice bonuses. The biggest benefit of this machine is without a single doubt it's very versatile and hands on sequencer. Of course it has it's quirks, but non of them are bad enough to not even consider this as a replacement for your laptop running Ableton.

HR-16 can be seen on the left.

MPC1000 can be seen in his video https://www.youtube.com/watch?v=tiC0DQplHrU

Kawai K1 is spotted in the rack as the camera pans.

The SG01v is spotted in the rack. Below the S2000 at 5 seconds.

The D-station is spotted in the rack, at 5 seconds in this video.

Sequential Circuits Drumtracks is in the 2nd second of this video form his FB page.

Airbase99 in this video: https://www.youtube.com/watch?v=tiC0DQplHrU

No quote or explanation available.

Cirklon is used in this video. https://www.youtube.com/watch?v=4_AV8x7YAwU

No quote or explanation available.

Spotted a Roland MVS-1 on his fb page.

Nice italian made analoge machine, looks like some sort of Korg Poly800 clone. Nothing special, but since they are cheap it's always a good buy, no doubt. There is this whistling kinda sound in the lower ranges, but I never cared too much about that. Low budget is not a choice you make, so you better do with what you have. I used it a lot on 'The Eye That Never Sleeps', and it was an important synth for that track called 'The Plot', of which you can find an excerpt on the mp3 page.

Backed up by investments from Yamaha, Korg made this weird FM synth available in four different colors, using Yamaha 4 operator FM technology and sound chip taken from the Yamaha FB-01 and Korg DS-08 (which looks more like the DW8000, the 707 looks more like the M1). But whilst the DS-08 used dual oscillators, the 707 uses only one (and doesn't have the on-board effects the DS-08 has). It does have it's own sound, rather thin and dinky but still quite fun. Somehow I really don't like editing it, even tweaking the presets is no fun at all. But to be honest, I haven't spend much time trying to figure this synth out. Right now I'm not bored (nor ashamed) using the 707's presets, maybe when I do get bored I might get motivated to dive into this synth. But right now I couldn't care less.