Squarepusher

Normal Stingray has 4 knobs(vol, treble, mid, bass). but his playing 3-Knob equipped models.

According to a list of gear from the official website, Squarepusher owns the following: Bass guitars: Music Man / Rickenbacker 4001 / Custom built 6 strings.

That basse's debut from "Damogen Furies" live tour. It's not his usual Zoot Bass. Different body shapes and PU position.?

From Troxy's 2015 live pics. It has unique 4-band EQ knobs, Round forms.

In this Sound On Sound interview there is a picture that shows 2 of Jenkinson's basses side by side. It is the 3rd picture of the interview's gallery. The six-string bass at the right reads "ZOOT BASS" at the headstock. Mike Walsh is the luthier responsible for the construction of the Zoot basses.

If you wish to have more info, take a look at the zoot basses' website: http://www.zootbass.com/

On this 2006 The Guardian interview, it reads: "These days Jenkinson favours 'a custom-made six-string bass I had made by Mike at Iceni Music. It's a toss-up between that and my Warwick 6, which is like a tree trunk with strings. The best four-string I had was a Music Man Sabre.' "

The custom-made six-string bass he refers to is the Zoot Bass, made by Mike Walsh. The 4 string is the Ernie Ball Music Man Classic Sabre. Among bass forums, the Warwick six string is commonly believed to be a modified Corvette Bubinga 6.

This page (http://www.guitarporn.co.uk/post/3369857993/squarepusher-and-warwick-corvette) says: "Squarepusher and modified 6-String Warwick Corvette Bass. Tom Jenkinson is an incredible bassist, and is shown here with his heavily modified Warwick Corvette."

This bass forum page (http://forum.bass-arena.com/threads/squarepusher-playing-a-corvette.7835/) has speculations about an extra pickup: "that looks like a bubinga corvette, right ? seems like it has an additional neck pickup...", "Looks like bubinga 6 string with black hardware... maybe a NT? I bet the extra pickup is a MIDI pickup too..." and "It's a regular bubinga Corvette 6 string with a midi pickup."

This jam session video reveals lots of pieces of gear on Jenkinson's studio prior to his 2008 tour with Alex Thomas. Hanging on the wall is a Westone Thunder II Fretless Bass, right next to the Rickenbacker 4001. Go to the 2:09 mark for an example of a good shot.

This 1996 interview offers a pretty close look at Tom Jenkinson's "full time residential studio", as he refers to it. At 3:15 into this video, his Ibanez RB950 Blue-Burst Roadstar II Series 4-String Bass is shown with an Aphex Twin sticker on the body.

In this 1996 interview, Tom is seen performing "The Swifty" with what appears to be a Fender Jazz Bass. The performance starts at the 6:12 mark, and the headstock can best be seen in the 7:31 mark. There's also a 1997 interview and performance video in which Tom can be seen playing in another Fender Jazz Bass. Performances occur in the 0:52 (Cooper's World) and 12:21 (Beep Street) marks.

This is the 4th picture in Tom's Sound On Sound interview's photo gallery. It shows a part of Tom's home studio. Right next to the laptop, this model of a Gallien Krueger Bass Amplifier can be spotted.

This is the 4th picture in Tom's Sound On Sound interview's photo gallery. It shows a part of Tom's home studio. Right underneath the Eventide Orville Harmonizer Unit (which is under the laptop), the AH200 Laney Amplifier model can be spotted.

This photo included GK-3B. and his had Axon AX100 Roland GK-compatible modules.

"The most significant pieces are a ~ Axon AX100 MIDI bass module," quotes from : http://www.soundonsound.com/sos/may11/articles/sqpshr.htm

On this Sound On Sound interview, in the "Jumble Sale Studio" section, a bunch of gear from Jenkinson's studio is mentioned. Among them, the Roland VB-99. "It's a ragtag collection of stuff, and there's no discernible overall 'vintage' rationale behind the collection as a whole. The most significant pieces are a Roland TR909, TB303, SH101, V?Synth XT and V?Bass 99, Neve 1073 mic pre, AKG BX15 spring reverb, TC Electronics D2 delay, DBX 1066, a self?made mechanical reverb, Tom Jenkinson's custom?made spring reverb: "The reverb uses four pairs of Accutronics type 1, 4, 8 and 9 springs. The stereo input stages incorporate a soft-clip circuit, high shelving EQ and spring selectors that send the input to a given pair of springs. There are four output stages to which the springs can be assigned. Each output stage has signal invert, volume and pan controls. The springs can be used in parallel or series, where one spring signal is fed into another. The circuit grounding uses star topology. It was used extensively on the album Hello Everything, in conjunction with my AKG BX15 and BX20 reverbs. It is clearly audible at the starts of 'Bubble Life', 'Circlewave' and 'Plotinus'.” Tom Jenkinson's custom?made spring reverb: "The reverb uses four pairs of Accutronics type 1, 4, 8 and 9 springs. The stereo input stages incorporate a soft-clip circuit, high shelving EQ and spring selectors that send the input to a given pair of springs. There are four output stages to which the springs can be assigned. Each output stage has signal invert, volume and pan controls. The springs can be used in parallel or series, where one spring signal is fed into another. The circuit grounding uses star topology. It was used extensively on the album Hello Everything, in conjunction with my AKG BX15 and BX20 reverbs. It is clearly audible at the starts of 'Bubble Life', 'Circlewave' and 'Plotinus'.” Axon AX100 MIDI bass module, MOTU 24I/O audio interface, Dynaudio Acoustics M1 monitors, Yamaha CS80, TX81Z and FS1R synths and QY700 sequencer. A huge amount of gear has also been and gone, like the Yamaha VSS80 8?bit toy keyboard sampler shown in some late '90s television footage of Jenkinson."

In the Squarepusher's Custom Bass Setup section of this interview, a line of 8 Roland EV-5 Expression Pedals can be seen to be put onto a wood piece, forming what looks to be Tom Jenkinson's pedalboard.

In the documentary "Meet Squarepusher" from The Creators Project, previously unseen footage of Tom Jenkinson's studio from various periods (such as his 1995, 2000 and more recent setups) are revealed. If the video gets paused around the 3:06 mark, there are two effect units that can be spotted. One of them is what appears to be a modified Roland Space Echo RE-201 (as hinted by the extra black knobs on the top right portion of the unit), and sitting on top of it is the Musitronics Mu-Tron III.

Jenkinson likes the challenge of coaxing unfound sounds from gear, even as he recognizes the shortcomings of something like the QY700’s timing in comparison to a digital sequencer. He doesn’t crave perfection, which he considers an old-school approach. Exact timing would only retain its meticulous nature for so long once the outboard units are coupled with the self-taught programmer’s “hacks,” which he cobbles together in SuperCollider, Pure Data, and Reaktor.

"I unearthed the 909 and was surprised by how good the straight-out-of-the-box sounds sounded on my monitors," Tom says, in this article.

"To this day, nobody believes that the tracks on Big Loada were a single pass of me sequencing my Akai S950 from my DR660," Tom says, in this article.

"...I bought the DSP4000, and I'm still finding new things to do with that and with the Orville," says Tom, in this article.

"If it's possible to single out one piece of gear as being crucial to Jenkinson's way of working, it's the Eventide Orville multi?effects unit," Tom says, in this article.

"Jenkinson seems to prefer having a desk at the centre of his studio, a role which is currently occupied by a Euphonix CS3000," reads the caption to this photo, found in this article.

In this Sound On Sound interview (Jumble Sale Studio section), upon detailing and explaining how he made his own spring reverb, he mentions that the AKG BX-15 and AKG BX-20 spring reverb units were also extensively used on the album "Hello Everything". He even specifies certain tracks. Quote from Tom himself: "The reverb uses four pairs of Accutronics type 1, 4, 8 and 9 springs. The stereo input stages incorporate a soft-clip circuit, high shelving EQ and spring selectors that send the input to a given pair of springs. There are four output stages to which the springs can be assigned. Each output stage has signal invert, volume and pan controls. The springs can be used in parallel or series, where one spring signal is fed into another. The circuit grounding uses star topology. It was used extensively on the album Hello Everything, in conjunction with my AKG BX15 and BX20 reverbs. It is clearly audible at the starts of 'Bubble Life', 'Circlewave' and 'Plotinus'.”

In this Sound On Sound interview (Jumble Sale Studio section), upon detailing and explaining how he made his own spring reverb, he mentions that the AKG BX-15 and AKG BX-20 spring reverb units were also extensively used on the album "Hello Everything". Quote from Tom himself: "The reverb uses four pairs of Accutronics type 1, 4, 8 and 9 springs. The stereo input stages incorporate a soft-clip circuit, high shelving EQ and spring selectors that send the input to a given pair of springs. There are four output stages to which the springs can be assigned. Each output stage has signal invert, volume and pan controls. The springs can be used in parallel or series, where one spring signal is fed into another. The circuit grounding uses star topology. It was used extensively on the album Hello Everything, in conjunction with my AKG BX15 and BX20 reverbs. It is clearly audible at the starts of 'Bubble Life', 'Circlewave' and 'Plotinus'.”

In this Sound On Sound interview, precisely on the "Jumble Sale Studio" section, a bunch of Jenkinson's gear is mentioned. Among them, the TC Electronics D-Two Delay. The item can also be seen in the photo gallery of the interview, along with other pieces in a rack (from top to bottom, TC Electronics D-Two Delay, DBX 1066, Drawmer LX-20 and the Eventide Orville). It is the 8th photo, here's a quick link to it: http://dt7v1i9vyp3mf.cloudfront.net/styles/news_large/s3/imagelibrary/S/Sq_09.jpg?3CE8TrbIbKGqUfDboUWA_6We1exoFnHv=&itok=6tgbEa6N

From the interview: "It's a ragtag collection of stuff, and there's no discernible overall 'vintage' rationale behind the collection as a whole. The most significant pieces are a Roland TR909, TB303, SH101, V?Synth XT and V?Bass 99, Neve 1073 mic pre, AKG BX15 spring reverb, TC Electronics D2 delay, DBX 1066, a self?made mechanical reverb, Tom Jenkinson's custom?made spring reverb: "The reverb uses four pairs of Accutronics type 1, 4, 8 and 9 springs. The stereo input stages incorporate a soft-clip circuit, high shelving EQ and spring selectors that send the input to a given pair of springs. There are four output stages to which the springs can be assigned. Each output stage has signal invert, volume and pan controls. The springs can be used in parallel or series, where one spring signal is fed into another. The circuit grounding uses star topology. It was used extensively on the album Hello Everything, in conjunction with my AKG BX15 and BX20 reverbs. It is clearly audible at the starts of 'Bubble Life', 'Circlewave' and 'Plotinus'.” Tom Jenkinson's custom?made spring reverb: "The reverb uses four pairs of Accutronics type 1, 4, 8 and 9 springs. The stereo input stages incorporate a soft-clip circuit, high shelving EQ and spring selectors that send the input to a given pair of springs. There are four output stages to which the springs can be assigned. Each output stage has signal invert, volume and pan controls. The springs can be used in parallel or series, where one spring signal is fed into another. The circuit grounding uses star topology. It was used extensively on the album Hello Everything, in conjunction with my AKG BX15 and BX20 reverbs. It is clearly audible at the starts of 'Bubble Life', 'Circlewave' and 'Plotinus'.” Axon AX100 MIDI bass module, MOTU 24I/O audio interface, Dynaudio Acoustics M1 monitors, Yamaha CS80, TX81Z and FS1R synths and QY700 sequencer. A huge amount of gear has also been and gone, like the Yamaha VSS80 8?bit toy keyboard sampler shown in some late '90s television footage of Jenkinson."

"Tom Jenkinson much prefers to work with hardware sequencers, and specifically his Yamaha QY700," reads the caption to this photo, in this article.

On the 4th picture of this Sound On Sound interview's photo gallery (quick link to it: http://dt7v1i9vyp3mf.cloudfront.net/styles/news_large/s3/imagelibrary/S/Sq_04.jpg?FJWDrszhVCYZoz7AyanIBRkc_WklqCie=&itok=RqQrtYnL) , there is a mixer next to the drum kit. Through careful comparison, one can conclude that the mixer is the Mackie CR1604-VLZ.

In the "Old School" section of this interview, Jenkinson explains his experiences with recording mediums throughout the years. According to Tom Jenkinson himself, "[...] As for recording, I used tape recorders exclusively until 2001. I first had a Fostex M80 quarter?inch eight?track, and in the late '90s I obtained a half?inch Tascam MSR16. I still use that, though it's being repaired at the moment. I have to say that I'm not obsessive about it. Recording to tape, or to a computer?based multitrack, is a means to an end. I mix and match now. I've used Sonic Foundry's Vegas, and more recently Nuendo, but I don't endorse or recommend them. There's no love in it for me, they really are just tools."