Stephen Hague

Stephen Hague discusses programming the bassline for the Pet Shop Boys' "Love Comes Quickly" with an MSQ-700 sequencer:

The bassline of [Love Comes Quickly] is interesting because, originally, it was going to be a down-beat set up as it is in the intro. I had programmed it on an MSQ700, but something got screwed up when it came back sync'd from tape and the whole thing was delayed by exactly half a beat. I thought it sounded really cool so I had to re-write the bass sequence with that in mind.

"I then load the mix and the instrument I'm working on info Sound Tools, so that I can hear the instrument in context and don't have to keep winding the tape backwards and forwards. I use a little Roland M120 mixer for that purpose, which is connected to the Sound Tools output."

Hague uses a Roland A80 as his master keyboard — "I don't actually use many of its functions; the only reason I have it is because I like the way the keyboard feels" — and professes a particular fondness for his Dynacord CLS222 Leslie simulator. "I use it on all kinds of stuff: guitars, vocals, keyboards. It gives you an effect of motion, but it's not chorusing or flanging. It particularly brings digital organ sounds to life, which can otherwise be a bit dull."

Hague uses a Roland A80 as his master keyboard — "I don't actually use many of its functions; the only reason I have it is because I like the way the keyboard feels" — and professes a particular fondness for his Dynacord CLS222 Leslie simulator. "I use it on all kinds of stuff: guitars, vocals, keyboards. It gives you an effect of motion, but it's not chorusing or flanging. It particularly brings digital organ sounds to life, which can otherwise be a bit dull."

As well as the Emulator II, Hague favours the Akai S900 and is particularly interested in stereo sampling. Multi-layered sounds, like the bass on 'West End Girls' tend, however, to come direct from various synthesisers and be concentrated in one channel of the mixing desk rather than being sampled and used as a single sound.

The Siouxsie material was rehearsed and recorded by the band on sequencers, allowing Hague to make extensive use of his computer music gear (based around a Mac SE30 and a Mac IIci; see box) was put to intensive use.

The Siouxsie material was rehearsed and recorded by the band on sequencers, allowing Hague to make extensive use of his computer music gear (based around a Mac SE30 and a Mac IIci; see box) was put to intensive use.

The two Macs are interfaced to the outside world with two Opcode Studio 3 units and a Studio 5. Hague has plenty of sound sources to drive with these. There's an M3R, a DX7II, two rack-mounted Roland Super Jupiter modules (with programmers), a Roland JD800, DS50 and U220, a Korg Wavestation A/D, and an Akai/Linn MPC60, plus a few oldies. Amongst the latter are a Korg MS12, his original Yamaha CS80, and an Oberheim OB8.

The two Macs are interfaced to the outside world with two Opcode Studio 3 units and a Studio 5. Hague has plenty of sound sources to drive with these. There's an M3R, a DX7II, two rack-mounted Roland Super Jupiter modules (with programmers), a Roland JD800, DS50 and U220, a Korg Wavestation A/D, and an Akai/Linn MPC60, plus a few oldies. Amongst the latter are a Korg MS12, his original Yamaha CS80, and an Oberheim OB8.

The two Macs are interfaced to the outside world with two Opcode Studio 3 units and a Studio 5. Hague has plenty of sound sources to drive with these. There's an M3R, a DX7II, two rack-mounted Roland Super Jupiter modules (with programmers), a Roland JD800, DS50 and U220, a Korg Wavestation A/D, and an Akai/Linn MPC60, plus a few oldies. Amongst the latter are a Korg MS12, his original Yamaha CS80, and an Oberheim OB8.