Paul Robb

Included in his studio are synthesizers such as the Roland MKS-70, two MKS-50s, a MKS-80 and D-50; Yamaha TX-81Z; four Oberheim Matrix 1000s, E-mu Orbit and Morpheus, and a Casio VZ-10M. Sample players include Kurzweil 1000AX+, Roland U-110, Oberheim DPX-1, E-mu Proformance Piano and Proteus (as well as the Proteus 2 and 3), Alesis NanoBass and samplers, including a Casio FZ-10M, two Akai S-1000s and three Akai CD-3000s. He also turns to E-mu Procussion, Roland R-8M, Alesis DM-5, Roland BD-1 and a Roland SPD-11 for drum sounds.

List of synthesizers at Paul Robb's studio:

Casio VZ10M. "There's one little sound called Teardrops in there, and it's the only sound I've ever used out of that box." Emu Morpheus. Emu Orbit. "These Emu boxes are just kind of one‑trick ponies, and once you have that trick you can't really use it too much. Nine out of 10 times when I use the Orbit I put it through distortion." Emu Proteus 1, 2 & 3. "I, like almost everyone else who owns them, use these a lot but tend not to admit it! But some of the most expressive orchestral sounds I have come out of that Proteus 2, the oboe especially." Kurzweil Acoustic Expander (AX). "I mostly use this for string samples. In some ways some of its string samples are more effective than those on very expensive sample libraries. Even though it's less realistic when you listen to it by itself, in a mix it really makes things come alive. I often use it in collaboration with a sampled string section, and it sounds great." Kurzweil Micropiano. "I have vast numbers of giant sampled grand pianos, but generally in a mix or for one low note you don't need a sampled Bösendorfer. Something that's kind of close enough to a piano is going to work for that. If it's an exposed solo piano then I'll go to a sample from a sample CD." Oberheim DPX1. "When this first came out it was great because you could load samples from several different samplers into it. I have an orchestral cymbal sample from the old Emulator III library in there and every time I do orchestral music I use that sound. I've lugged that 20lb box around with me for years just for that one sound!" Oberheim Matrix 1000 (x4). "The Matrix 1000 is my favourite box of all time, which is why I have four of them. A lot of times I'll use all four on the same sound, just slightly detuned, and I pan all the way across the stereo field from hard left to hard right. The only thing is, they don't respond well to heat, so I always leave them switched off unless I'm actually using them." Roland BD1 (bass and drums). "This has some good snares in it, and some good acoustic basses. That's mostly all I use it for." Roland SE1 (strings). "The reason I have so many modules is because I'm very lazy. If a sound isn't right I'm more likely to continue looking for another sound than I am to tweak the sound. Especially with these menu‑driven rackmount things, I don't want to get involved with that." Roland D50. "I just use this as my controller. I don't use any of those sounds any more." Roland JP8000. "When I do need to program sounds, the JP8000 usually does the job." Roland MKS50 (x2). Roland MKS70. Roland Super Jupiter MKS80. "I bought this in 1987. Along with the SPX90, it's the oldest piece of gear in the studio." Roland U110. "This is one of those boxes that's so old and strange that sometimes it's good to just throw it into a mix. There's a couple of electric piano sounds on there which sound nothing like an electric piano, but for that very reason they sound great." Yamaha TX81Z. "This is my only member of the FM synthesis family — it comes in handy because it has its own sound."

"I also have a Roland MKS50 and a Yamaha TX81Z, which I used to hate because it has those weird little bird harmonics on every single sound. But there are sounds on it that are just so great that you take them for granted, like the Alto Sax sound."

"I also have a Roland MKS50 and a Yamaha TX81Z, which I used to hate because it has those weird little bird harmonics on every single sound. But there are sounds on it that are just so great that you take them for granted, like the Alto Sax sound."

"I love Ensoniq Mirage sounds, and I've just bought the Roland Super JX module, and I like that a lot, there are so many sounds that are classics and that the new synths can't do. It's so rich; for pad sounds and horn sounds you can't beat it."

Included in his studio are synthesizers such as the Roland MKS-70, two MKS-50s, a MKS-80 and D-50; Yamaha TX-81Z; four Oberheim Matrix 1000s, E-mu Orbit and Morpheus, and a Casio VZ-10M. Sample players include Kurzweil 1000AX+, Roland U-110, Oberheim DPX-1, E-mu Proformance Piano and Proteus (as well as the Proteus 2 and 3), Alesis NanoBass and samplers, including a Casio FZ-10M, two Akai S-1000s and three Akai CD-3000s. He also turns to E-mu Procussion, Roland R-8M, Alesis DM-5, Roland BD-1 and a Roland SPD-11 for drum sounds.

Included in his studio are synthesizers such as the Roland MKS-70, two MKS-50s, a MKS-80 and D-50; Yamaha TX-81Z; four Oberheim Matrix 1000s, E-mu Orbit and Morpheus, and a Casio VZ-10M. Sample players include Kurzweil 1000AX+, Roland U-110, Oberheim DPX-1, E-mu Proformance Piano and Proteus (as well as the Proteus 2 and 3), Alesis NanoBass and samplers, including a Casio FZ-10M, two Akai S-1000s and three Akai CD-3000s. He also turns to E-mu Procussion, Roland R-8M, Alesis DM-5, Roland BD-1 and a Roland SPD-11 for drum sounds.

Included in his studio are synthesizers such as the Roland MKS-70, two MKS-50s, a MKS-80 and D-50; Yamaha TX-81Z; four Oberheim Matrix 1000s, E-mu Orbit and Morpheus, and a Casio VZ-10M. Sample players include Kurzweil 1000AX+, Roland U-110, Oberheim DPX-1, E-mu Proformance Piano and Proteus (as well as the Proteus 2 and 3), Alesis NanoBass and samplers, including a Casio FZ-10M, two Akai S-1000s and three Akai CD-3000s. He also turns to E-mu Procussion, Roland R-8M, Alesis DM-5, Roland BD-1 and a Roland SPD-11 for drum sounds.

Included in his studio are synthesizers such as the Roland MKS-70, two MKS-50s, a MKS-80 and D-50; Yamaha TX-81Z; four Oberheim Matrix 1000s, E-mu Orbit and Morpheus, and a Casio VZ-10M. Sample players include Kurzweil 1000AX+, Roland U-110, Oberheim DPX-1, E-mu Proformance Piano and Proteus (as well as the Proteus 2 and 3), Alesis NanoBass and samplers, including a Casio FZ-10M, two Akai S-1000s and three Akai CD-3000s. He also turns to E-mu Procussion, Roland R-8M, Alesis DM-5, Roland BD-1 and a Roland SPD-11 for drum sounds.

Included in his studio are synthesizers such as the Roland MKS-70, two MKS-50s, a MKS-80 and D-50; Yamaha TX-81Z; four Oberheim Matrix 1000s, E-mu Orbit and Morpheus, and a Casio VZ-10M. Sample players include Kurzweil 1000AX+, Roland U-110, Oberheim DPX-1, E-mu Proformance Piano and Proteus (as well as the Proteus 2 and 3), Alesis NanoBass and samplers, including a Casio FZ-10M, two Akai S-1000s and three Akai CD-3000s. He also turns to E-mu Procussion, Roland R-8M, Alesis DM-5, Roland BD-1 and a Roland SPD-11 for drum sounds.

Included in his studio are synthesizers such as the Roland MKS-70, two MKS-50s, a MKS-80 and D-50; Yamaha TX-81Z; four Oberheim Matrix 1000s, E-mu Orbit and Morpheus, and a Casio VZ-10M. Sample players include Kurzweil 1000AX+, Roland U-110, Oberheim DPX-1, E-mu Proformance Piano and Proteus (as well as the Proteus 2 and 3), Alesis NanoBass and samplers, including a Casio FZ-10M, two Akai S-1000s and three Akai CD-3000s. He also turns to E-mu Procussion, Roland R-8M, Alesis DM-5, Roland BD-1 and a Roland SPD-11 for drum sounds.

List of synthesizers at Paul Robb's studio:

Casio VZ10M. "There's one little sound called Teardrops in there, and it's the only sound I've ever used out of that box." Emu Morpheus. Emu Orbit. "These Emu boxes are just kind of one‑trick ponies, and once you have that trick you can't really use it too much. Nine out of 10 times when I use the Orbit I put it through distortion." Emu Proteus 1, 2 & 3. "I, like almost everyone else who owns them, use these a lot but tend not to admit it! But some of the most expressive orchestral sounds I have come out of that Proteus 2, the oboe especially." Kurzweil Acoustic Expander (AX). "I mostly use this for string samples. In some ways some of its string samples are more effective than those on very expensive sample libraries. Even though it's less realistic when you listen to it by itself, in a mix it really makes things come alive. I often use it in collaboration with a sampled string section, and it sounds great." Kurzweil Micropiano. "I have vast numbers of giant sampled grand pianos, but generally in a mix or for one low note you don't need a sampled Bösendorfer. Something that's kind of close enough to a piano is going to work for that. If it's an exposed solo piano then I'll go to a sample from a sample CD." Oberheim DPX1. "When this first came out it was great because you could load samples from several different samplers into it. I have an orchestral cymbal sample from the old Emulator III library in there and every time I do orchestral music I use that sound. I've lugged that 20lb box around with me for years just for that one sound!" Oberheim Matrix 1000 (x4). "The Matrix 1000 is my favourite box of all time, which is why I have four of them. A lot of times I'll use all four on the same sound, just slightly detuned, and I pan all the way across the stereo field from hard left to hard right. The only thing is, they don't respond well to heat, so I always leave them switched off unless I'm actually using them." Roland BD1 (bass and drums). "This has some good snares in it, and some good acoustic basses. That's mostly all I use it for." Roland SE1 (strings). "The reason I have so many modules is because I'm very lazy. If a sound isn't right I'm more likely to continue looking for another sound than I am to tweak the sound. Especially with these menu‑driven rackmount things, I don't want to get involved with that." Roland D50. "I just use this as my controller. I don't use any of those sounds any more." Roland JP8000. "When I do need to program sounds, the JP8000 usually does the job." Roland MKS50 (x2). Roland MKS70. Roland Super Jupiter MKS80. "I bought this in 1987. Along with the SPX90, it's the oldest piece of gear in the studio." Roland U110. "This is one of those boxes that's so old and strange that sometimes it's good to just throw it into a mix. There's a couple of electric piano sounds on there which sound nothing like an electric piano, but for that very reason they sound great." Yamaha TX81Z. "This is my only member of the FM synthesis family — it comes in handy because it has its own sound."

Casio VZ10M. "There's one little sound called Teardrops in there, and it's the only sound I've ever used out of that box." Emu Morpheus. Emu Orbit. "These Emu boxes are just kind of one‑trick ponies, and once you have that trick you can't really use it too much. Nine out of 10 times when I use the Orbit I put it through distortion." Emu Proteus 1, 2 & 3. "I, like almost everyone else who owns them, use these a lot but tend not to admit it! But some of the most expressive orchestral sounds I have come out of that Proteus 2, the oboe especially." Kurzweil Acoustic Expander (AX). "I mostly use this for string samples. In some ways some of its string samples are more effective than those on very expensive sample libraries. Even though it's less realistic when you listen to it by itself, in a mix it really makes things come alive. I often use it in collaboration with a sampled string section, and it sounds great." Kurzweil Micropiano. "I have vast numbers of giant sampled grand pianos, but generally in a mix or for one low note you don't need a sampled Bösendorfer. Something that's kind of close enough to a piano is going to work for that. If it's an exposed solo piano then I'll go to a sample from a sample CD." Oberheim DPX1. "When this first came out it was great because you could load samples from several different samplers into it. I have an orchestral cymbal sample from the old Emulator III library in there and every time I do orchestral music I use that sound. I've lugged that 20lb box around with me for years just for that one sound!" Oberheim Matrix 1000 (x4). "The Matrix 1000 is my favourite box of all time, which is why I have four of them. A lot of times I'll use all four on the same sound, just slightly detuned, and I pan all the way across the stereo field from hard left to hard right. The only thing is, they don't respond well to heat, so I always leave them switched off unless I'm actually using them." Roland BD1 (bass and drums). "This has some good snares in it, and some good acoustic basses. That's mostly all I use it for." Roland SE1 (strings). "The reason I have so many modules is because I'm very lazy. If a sound isn't right I'm more likely to continue looking for another sound than I am to tweak the sound. Especially with these menu‑driven rackmount things, I don't want to get involved with that." Roland D50. "I just use this as my controller. I don't use any of those sounds any more." Roland JP8000. "When I do need to program sounds, the JP8000 usually does the job." Roland MKS50 (x2). Roland MKS70. Roland Super Jupiter MKS80. "I bought this in 1987. Along with the SPX90, it's the oldest piece of gear in the studio." Roland U110. "This is one of those boxes that's so old and strange that sometimes it's good to just throw it into a mix. There's a couple of electric piano sounds on there which sound nothing like an electric piano, but for that very reason they sound great." Yamaha TX81Z. "This is my only member of the FM synthesis family — it comes in handy because it has its own sound."

Casio VZ10M. "There's one little sound called Teardrops in there, and it's the only sound I've ever used out of that box." Emu Morpheus. Emu Orbit. "These Emu boxes are just kind of one‑trick ponies, and once you have that trick you can't really use it too much. Nine out of 10 times when I use the Orbit I put it through distortion." Emu Proteus 1, 2 & 3. "I, like almost everyone else who owns them, use these a lot but tend not to admit it! But some of the most expressive orchestral sounds I have come out of that Proteus 2, the oboe especially." Kurzweil Acoustic Expander (AX). "I mostly use this for string samples. In some ways some of its string samples are more effective than those on very expensive sample libraries. Even though it's less realistic when you listen to it by itself, in a mix it really makes things come alive. I often use it in collaboration with a sampled string section, and it sounds great." Kurzweil Micropiano. "I have vast numbers of giant sampled grand pianos, but generally in a mix or for one low note you don't need a sampled Bösendorfer. Something that's kind of close enough to a piano is going to work for that. If it's an exposed solo piano then I'll go to a sample from a sample CD." Oberheim DPX1. "When this first came out it was great because you could load samples from several different samplers into it. I have an orchestral cymbal sample from the old Emulator III library in there and every time I do orchestral music I use that sound. I've lugged that 20lb box around with me for years just for that one sound!" Oberheim Matrix 1000 (x4). "The Matrix 1000 is my favourite box of all time, which is why I have four of them. A lot of times I'll use all four on the same sound, just slightly detuned, and I pan all the way across the stereo field from hard left to hard right. The only thing is, they don't respond well to heat, so I always leave them switched off unless I'm actually using them." Roland BD1 (bass and drums). "This has some good snares in it, and some good acoustic basses. That's mostly all I use it for." Roland SE1 (strings). "The reason I have so many modules is because I'm very lazy. If a sound isn't right I'm more likely to continue looking for another sound than I am to tweak the sound. Especially with these menu‑driven rackmount things, I don't want to get involved with that." Roland D50. "I just use this as my controller. I don't use any of those sounds any more." Roland JP8000. "When I do need to program sounds, the JP8000 usually does the job." Roland MKS50 (x2). Roland MKS70. Roland Super Jupiter MKS80. "I bought this in 1987. Along with the SPX90, it's the oldest piece of gear in the studio." Roland U110. "This is one of those boxes that's so old and strange that sometimes it's good to just throw it into a mix. There's a couple of electric piano sounds on there which sound nothing like an electric piano, but for that very reason they sound great." Yamaha TX81Z. "This is my only member of the FM synthesis family — it comes in handy because it has its own sound."

One thing conspicuously absent from Robb's studio is a hard disk recording system. Sure he has the standard arsenal of rackmount modules, including Yamaha SPX90, Lexicon LXP-1 and just about the entire E-mu Proteus family, but he's got the hardware and not their plug-in counterparts.

List of drum samplers at Paul Robb's studio:

Akai S1000 (x2). Akai CD3000 (x3). Akai S6000. "I'm replacing the older samplers with the new S6000 right now!" Casio FZ10. "It's an 8‑bit clunky old thing which I keep because I have a large library of bizarre old samples that I did before sampling was very popular. Some of them are so oddball that sometimes they're perfect for when I get stuck — I load a disk at random and it'll give me an idea."

List of effects at Paul Robb's studio:

Aphex Type C2 Exciter. BBE 462 Sonic Maximiser enhancer. Drawmer DL241 dual compressor. "I generally strap this across the stereo buss. At some point I'd like to get a better compressor, though." Boss SE50. Boss SE70. "I primarily use these for distortion." Digitech VFX Valve FX. "This is an awesome distortion box. It's so bright it will rip your head off." Ensoniq DP/2. "I also use this primarily for distortion. All four of my distortion boxes [Digitech Valve FX, Roland SE50 and SE70, Ensoniq DP2] are absolutely critical to me. They're indispensable. I rarely use synthesizers anymore without running them through a guitar box." Eventide H3000 multi‑effects. FMR Audio RNC1773 Really Nice Compressor (x3). "These are my new favourite boxes. They make them in Texas, and they're incredibly cheap — 179 dollars, I think it was. But they're great, and on a par with the Drawmer compressor." Focusrite Red 2 Dual EQ. "It's mostly just gorgeous looking! Everyone who comes in here notices it. It looks like a piece of candy, you just want to bite on it. The thing is, it's so intimidating to look at, you really can't tell if it's any good or not — it doesn't need to be any good! I like it, though it's not quite good enough to strap across the whole mix: the EQ3D is on a par, even though it's half the price." Focusrite Red 7 Voice Channel. "This has a mic pre, a compressor, an enhancer and a de‑esser in it, which we use for recording vocals." Lexicon MPX1 multi‑effects. Lexicon PCM70 multi‑effects. Nightpro EQ3D filter. Peavey Analog Filter. "I actually very rarely use this. I've run some loops through it to make them sound crunchy and lo‑fi and it works OK. These techno people use outboard filters all the time — it's just that this one isn't a particularly good one, and I can't justify spending a grand on something like the Waldorf DPole or the Mutator." Roland SDE1000. "I just use this for simple delays." Roland SRV2000 reverb. SPL Vitalizer. "I think this is a lot more popular in Britain than it is here. I like it, but it has so much background hiss that I can only use it in loud noisy music. The great thing about it is the way it spreads the stereo fields, it's got some kind of phase." TC Electronic M2000 multi‑effects. Yamaha SPX90 multi‑effects. "This was the first effects box I ever bought and it's totally on its last legs. I keep it for its stereo split program, because it sounds so grainy and nice."

List of effects at Paul Robb's studio:

Aphex Type C2 Exciter. BBE 462 Sonic Maximiser enhancer. Drawmer DL241 dual compressor. "I generally strap this across the stereo buss. At some point I'd like to get a better compressor, though." Boss SE50. Boss SE70. "I primarily use these for distortion." Digitech VFX Valve FX. "This is an awesome distortion box. It's so bright it will rip your head off." Ensoniq DP/2. "I also use this primarily for distortion. All four of my distortion boxes [Digitech Valve FX, Roland SE50 and SE70, Ensoniq DP2] are absolutely critical to me. They're indispensable. I rarely use synthesizers anymore without running them through a guitar box." Eventide H3000 multi‑effects. FMR Audio RNC1773 Really Nice Compressor (x3). "These are my new favourite boxes. They make them in Texas, and they're incredibly cheap — 179 dollars, I think it was. But they're great, and on a par with the Drawmer compressor." Focusrite Red 2 Dual EQ. "It's mostly just gorgeous looking! Everyone who comes in here notices it. It looks like a piece of candy, you just want to bite on it. The thing is, it's so intimidating to look at, you really can't tell if it's any good or not — it doesn't need to be any good! I like it, though it's not quite good enough to strap across the whole mix: the EQ3D is on a par, even though it's half the price." Focusrite Red 7 Voice Channel. "This has a mic pre, a compressor, an enhancer and a de‑esser in it, which we use for recording vocals." Lexicon MPX1 multi‑effects. Lexicon PCM70 multi‑effects. Nightpro EQ3D filter. Peavey Analog Filter. "I actually very rarely use this. I've run some loops through it to make them sound crunchy and lo‑fi and it works OK. These techno people use outboard filters all the time — it's just that this one isn't a particularly good one, and I can't justify spending a grand on something like the Waldorf DPole or the Mutator." Roland SDE1000. "I just use this for simple delays." Roland SRV2000 reverb. SPL Vitalizer. "I think this is a lot more popular in Britain than it is here. I like it, but it has so much background hiss that I can only use it in loud noisy music. The great thing about it is the way it spreads the stereo fields, it's got some kind of phase." TC Electronic M2000 multi‑effects. Yamaha SPX90 multi‑effects. "This was the first effects box I ever bought and it's totally on its last legs. I keep it for its stereo split program, because it sounds so grainy and nice."

"The heart of my studio is an IBM AT clone, which I usually run Voyetra Sequencer Plus software on", he says, "and then I have modules - I don't have any big old keyboard synths any more. I use a Casio FZ10M sampler, which sounds great, but it's very strange to use. I've just discovered that if you save a whole keyboard setup, you cannot just call up one sound from that to add it to another bank. You have to call up the whole bank. I'm sure there's a way to get around it, but the manual... One of the great features is that it does have editing facilities built in, so you don't need to buy a computer for that. But again, if I can't figure out how to use it, it's not going to be much help."

"The heart of my studio is an IBM AT clone, which I usually run Voyetra Sequencer Plus software on", he says, "and then I have modules - I don't have any big old keyboard synths any more. I use a Casio FZ10M sampler, which sounds great, but it's very strange to use. I've just discovered that if you save a whole keyboard setup, you cannot just call up one sound from that to add it to another bank. You have to call up the whole bank. I'm sure there's a way to get around it, but the manual... One of the great features is that it does have editing facilities built in, so you don't need to buy a computer for that. But again, if I can't figure out how to use it, it's not going to be much help."

To work up his scoring assignments Robb has assembled a home studio-he calls it the Wreck Room-that blends the old school MIDI gear he started with back in 1987 and some more up-to-date recording devices. For example, in the midst of a Mackie 32*8 board and two 24*E expanders is a 286 PC that runs his vintage main sequencing program.

One thing conspicuously absent from Robb's studio is a hard disk recording system. Sure he has the standard arsenal of rackmount modules, including Yamaha SPX90, Lexicon LXP-1 and just about the entire E-mu Proteus family, but he's got the hardware and not their plug-in counterparts.

Included in his studio are synthesizers such as the Roland MKS-70, two MKS-50s, a MKS-80 and D-50; Yamaha TX-81Z; four Oberheim Matrix 1000s, E-mu Orbit and Morpheus, and a Casio VZ-10M. Sample players include Kurzweil 1000AX+, Roland U-110, Oberheim DPX-1, E-mu Proformance Piano and Proteus (as well as the Proteus 2 and 3), Alesis NanoBass and samplers, including a Casio FZ-10M, two Akai S-1000s and three Akai CD-3000s. He also turns to E-mu Procussion, Roland R-8M, Alesis DM-5, Roland BD-1 and a Roland SPD-11 for drum sounds.

Included in his studio are synthesizers such as the Roland MKS-70, two MKS-50s, a MKS-80 and D-50; Yamaha TX-81Z; four Oberheim Matrix 1000s, E-mu Orbit and Morpheus, and a Casio VZ-10M. Sample players include Kurzweil 1000AX+, Roland U-110, Oberheim DPX-1, E-mu Proformance Piano and Proteus (as well as the Proteus 2 and 3), Alesis NanoBass and samplers, including a Casio FZ-10M, two Akai S-1000s and three Akai CD-3000s. He also turns to E-mu Procussion, Roland R-8M, Alesis DM-5, Roland BD-1 and a Roland SPD-11 for drum sounds.

Included in his studio are synthesizers such as the Roland MKS-70, two MKS-50s, a MKS-80 and D-50; Yamaha TX-81Z; four Oberheim Matrix 1000s, E-mu Orbit and Morpheus, and a Casio VZ-10M. Sample players include Kurzweil 1000AX+, Roland U-110, Oberheim DPX-1, E-mu Proformance Piano and Proteus (as well as the Proteus 2 and 3), Alesis NanoBass and samplers, including a Casio FZ-10M, two Akai S-1000s and three Akai CD-3000s. He also turns to E-mu Procussion, Roland R-8M, Alesis DM-5, Roland BD-1 and a Roland SPD-11 for drum sounds.

Included in his studio are synthesizers such as the Roland MKS-70, two MKS-50s, a MKS-80 and D-50; Yamaha TX-81Z; four Oberheim Matrix 1000s, E-mu Orbit and Morpheus, and a Casio VZ-10M. Sample players include Kurzweil 1000AX+, Roland U-110, Oberheim DPX-1, E-mu Proformance Piano and Proteus (as well as the Proteus 2 and 3), Alesis NanoBass and samplers, including a Casio FZ-10M, two Akai S-1000s and three Akai CD-3000s. He also turns to E-mu Procussion, Roland R-8M, Alesis DM-5, Roland BD-1 and a Roland SPD-11 for drum sounds.

Included in his studio are synthesizers such as the Roland MKS-70, two MKS-50s, a MKS-80 and D-50; Yamaha TX-81Z; four Oberheim Matrix 1000s, E-mu Orbit and Morpheus, and a Casio VZ-10M. Sample players include Kurzweil 1000AX+, Roland U-110, Oberheim DPX-1, E-mu Proformance Piano and Proteus (as well as the Proteus 2 and 3), Alesis NanoBass and samplers, including a Casio FZ-10M, two Akai S-1000s and three Akai CD-3000s. He also turns to E-mu Procussion, Roland R-8M, Alesis DM-5, Roland BD-1 and a Roland SPD-11 for drum sounds.

Included in his studio are synthesizers such as the Roland MKS-70, two MKS-50s, a MKS-80 and D-50; Yamaha TX-81Z; four Oberheim Matrix 1000s, E-mu Orbit and Morpheus, and a Casio VZ-10M. Sample players include Kurzweil 1000AX+, Roland U-110, Oberheim DPX-1, E-mu Proformance Piano and Proteus (as well as the Proteus 2 and 3), Alesis NanoBass and samplers, including a Casio FZ-10M, two Akai S-1000s and three Akai CD-3000s. He also turns to E-mu Procussion, Roland R-8M, Alesis DM-5, Roland BD-1 and a Roland SPD-11 for drum sounds.

Included in his studio are synthesizers such as the Roland MKS-70, two MKS-50s, a MKS-80 and D-50; Yamaha TX-81Z; four Oberheim Matrix 1000s, E-mu Orbit and Morpheus, and a Casio VZ-10M. Sample players include Kurzweil 1000AX+, Roland U-110, Oberheim DPX-1, E-mu Proformance Piano and Proteus (as well as the Proteus 2 and 3), Alesis NanoBass and samplers, including a Casio FZ-10M, two Akai S-1000s and three Akai CD-3000s. He also turns to E-mu Procussion, Roland R-8M, Alesis DM-5, Roland BD-1 and a Roland SPD-11 for drum sounds.

Included in his studio are synthesizers such as the Roland MKS-70, two MKS-50s, a MKS-80 and D-50; Yamaha TX-81Z; four Oberheim Matrix 1000s, E-mu Orbit and Morpheus, and a Casio VZ-10M. Sample players include Kurzweil 1000AX+, Roland U-110, Oberheim DPX-1, E-mu Proformance Piano and Proteus (as well as the Proteus 2 and 3), Alesis NanoBass and samplers, including a Casio FZ-10M, two Akai S-1000s and three Akai CD-3000s. He also turns to E-mu Procussion, Roland R-8M, Alesis DM-5, Roland BD-1 and a Roland SPD-11 for drum sounds.