Rob Playford (AKA Timecode)

According to this article on the making of Goldie's Timeless album from the June 1998 issue of Sound on Sound magazine, Playford's studio gear includes a MidiVerb III unit.

According to this article on the making of Goldie's Timeless album from the June 1998 issue of Sound on Sound magazine, Playford's studio gear includes an Alesis 3630.

According to this article on the making of Goldie's Timeless album from the June 1998 issue of Sound on Sound magazine, Playford says, "...there have always been things I like to constantly upgrade. It used to be my samplers. I went from the S950 to the S1000, then up to the S1100, and finally to a S3200. I can't see myself upgrading again soon."

According to this article on the making of Goldie's Timeless album from the June 1998 issue of Sound on Sound magazine, Playford's studio gear includes a Sabre board.

According to this article on the making of Goldie's Timeless album from the June 1998 issue of Sound on Sound magazine, Playford's studio gear includes an S3200 sampler.

According to this article on the making of Goldie's Timeless album from the June 1998 issue of Sound on Sound magazine, Playford's studio gear includes a DX7 synth.

According to this article on the making of Goldie's Timeless album from the June 1998 issue of Sound on Sound magazine, Playford says, "...there have always been things I like to constantly upgrade. It used to be my samplers. I went from the S950 to the S1000, then up to the S1100, and finally to a S3200. I can't see myself upgrading again soon."

According to this article on the making of Goldie's Timeless album from the June 1998 issue of Sound on Sound magazine, Playford's studio gear includes a Quadraverb unit.

According to this article on the making of Goldie's Timeless album from the June 1998 issue of Sound on Sound magazine, Playford's studio gear includes a Composer compressor/expander.

According to this article on the making of Goldie's Timeless album from the June 1998 issue of Sound on Sound magazine, Playford's studio gear includes an Ultrafex II unit.

According to this article on the making of Goldie's Timeless album from the June 1998 issue of Sound on Sound magazine, Playford's studio gear includes a Vortex effects unit.

According to this article on the making of Goldie's Timeless album from the June 1998 issue of Sound on Sound magazine, Playford's studio gear includes a Drumstation unit.

According to this article on the making of Goldie's Timeless album from the June 1998 issue of Sound on Sound magazine, Playford's studio gear includes an M7 sonic modulator.

According to this article on the making of Goldie's Timeless album from the June 1998 issue of Sound on Sound magazine, Playford's studio gear includes an MP5 multi-effects unit.

According to this article on the making of Goldie's Timeless album from the June 1998 issue of Sound on Sound magazine, Playford's studio gear includes a Stereo Vitalizer.

According to this article on the making of Goldie's Timeless album from the June 1998 issue of Sound on Sound magazine, Playford's studio gear includes an SG01v vintage synth module.

According to this article on the making of Goldie's Timeless album from the June 1998 issue of Sound on Sound magazine, Playford's studio gear includes a Vintage Keys module.

According to this article on the making of Goldie's Timeless album from the June 1998 issue of Sound on Sound magazine, Playford's studio gear includes an 01/W synth.

According to this article on the making of Goldie's Timeless album from the June 1998 issue of Sound on Sound magazine, Playford's studio gear includes a Bass Station monosynth.

According to this article on the making of Goldie's Timeless album from the June 1998 issue of Sound on Sound magazine, Playford's studio gear includes an OB-Mx rack module.

According to this article on the making of Goldie's Timeless album from the June 1998 issue of Sound on Sound magazine, Playford's studio gear includes a Juno-106 synth.

According to this article on the making of Goldie's Timeless album from the June 1998 issue of Sound on Sound magazine, Playford's studio gear includes a TG500 synth.

According to this article on the making of Goldie's Timeless album from the June 1998 issue of Sound on Sound magazine, Playford recalls, "Diane Charlemagne came over and did the vocals, and we put them onto DAT and sampled the parts we wanted. I also reprocessed them; I think I put them through a [BBE] Sonic Maximiser, to get that airiness in there. But it wasn't actually until I put them into the song that I thought, 'no, brilliant, they work perfectly'".

According to this article on the making of Goldie's Timeless album from the June 1998 issue of Sound on Sound magazine, Playford says, "...there have always been things I like to constantly upgrade. It used to be my samplers. I went from the S950 to the S1000, then up to the S1100, and finally to a S3200. I can't see myself upgrading again soon."

According to this article on the making of Goldie's Timeless album from the June 1998 issue of Sound on Sound magazine, Playford says, "Pro Tools is my other great weakness. It's now the only thing I really keep up with, and it forms the heart of my studio, together with Logic Audio. Logic uses all the hardware and the operating system of the Digidesign system, and I use it quite bit more than the Pro Tools software front end."

According to this article on the making of Goldie's Timeless album from the June 1998 issue of Sound on Sound magazine, Playford says, "Pro Tools is my other great weakness. It's now the only thing I really keep up with, and it forms the heart of my studio, together with Logic Audio. Logic uses all the hardware and the operating system of the Digidesign system, and I use it quite bit more than the Pro Tools software front end."