Steve Levine

"I like the emulations of all the Roland plugins, the Korg plugins, but then I also love Native Instruments’ creative plugins – especially those that use random modules and things like that, they’re very musical and very creative. I love Kontakt – it’s my main sampler. I like the compressors and the de-essers… there’s not really many plugins I don’t like; it’s just a question of how you use them!"

"Up until recently we used the Yamaha QX1 sequencer with great success but that wasn't a popular machine - people didn't realise how brilliant it was. It was a really excellent machine. The only problem was it wouldn't record an external sync signal, but there are ways around that as well. Our problem was we were always running out of tracks because the QX1 only has eight. We were finding we were doing more and more things before we actually put them on tape. So then we changed over to the Steinberg Pro-24."

"I wanted it to still sound like a demo, and I haven't changed it, just tidied it up a little bit. I rented a four-track machine and at my studio and transferred the four tracks via my Apogee AD8000 in at 24-bit into Logic Audio."

"I run Logic X, Ableton live and Pro Tools (native) as well as lots of other audio editing programmes such as Isotope Rx4. It all works very well."

Steve Levine utilizes the Sonnox Oxford EQ, which excels on the UAD platform due to its extensive DSP capabilities, as highlighted by Universal Audio.

"This exceptional plugin really transformed our vocal arrangements. The addition of shred & delay add unique colour to the mix."

"I use the RME MADI PCI-e card this gives me 64 separate outs into my DM 2000 mixing console. I also have a PCI-e UAD quad-core card to run my UAD plugins."

Steve Levine uses Scarbee Vintage Keys, according to the Native Instruments website.

Steve Levine uses Arturia SQ80 V according to the Arturia website.

Video in which Steve Levine discusses his use of Arturia Collection V.

At :30, Arturia CMI V can be seen behind him on his computer monitor.

From about 3:17-3:44, Steve Levine talks about Arturia Mini V.

From about 3:45-3:58, Steve Levine talks about Arturia Prophet V.

From about 3:58-4:58, Steve Levine talks about Arturia ARP 2600.

Steve Levine utilizes the Arturia Tape MELLO-FI plugin to achieve a stunning lo-fi effect, capturing the classic 'wow' and tape saturation sound reminiscent of the Mellotron. This is highlighted by Arturia in their product overview.

Interview with Steve Levine in which he discusses his use of Roland Cloud.

"The great advantage of Roland Cloud, especially in the rough demo or sketch stage, was to have all the classic synths at your disposal. The ability to initially have multiple instances of the same synthesizer running together (something that would be difficult, and very expensive) is one of the wonderful features of the cloud. ‍ Once a track was created and approved, I could easily start printing or rendering the audio and in some cases double the sounds with my vintage hardware. ‍ This was especially true of the D-50 as I have the Roland Cloud version, the new Boutique 05, and my original D-550. The latter has some of my own sounds I created many years ago, but instantly evoke the sound of the ’80s. This was very important to the overall tone and vibe of Hyperbrawl.

I also loved mixing, say, the JUNO sounds with the JUPITER sounds. I also used the JUPITER arpeggiator on many of the parts as this added an extra melody or rhythm and is very different from the often more-complicated DAW versions."

"The great advantage of Roland Cloud, especially in the rough demo or sketch stage, was to have all the classic synths at your disposal. The ability to initially have multiple instances of the same synthesizer running together (something that would be difficult, and very expensive) is one of the wonderful features of the cloud. ‍ Once a track was created and approved, I could easily start printing or rendering the audio and in some cases double the sounds with my vintage hardware. ‍ This was especially true of the D-50 as I have the Roland Cloud version, the new Boutique 05, and my original D-550. The latter has some of my own sounds I created many years ago, but instantly evoke the sound of the ’80s. This was very important to the overall tone and vibe of Hyperbrawl.

I also loved mixing, say, the JUNO sounds with the JUPITER sounds. I also used the JUPITER arpeggiator on many of the parts as this added an extra melody or rhythm and is very different from the often more-complicated DAW versions."

"The great advantage of Roland Cloud, especially in the rough demo or sketch stage, was to have all the classic synths at your disposal. The ability to initially have multiple instances of the same synthesizer running together (something that would be difficult, and very expensive) is one of the wonderful features of the cloud. ‍ Once a track was created and approved, I could easily start printing or rendering the audio and in some cases double the sounds with my vintage hardware. ‍ This was especially true of the D-50 as I have the Roland Cloud version, the new Boutique 05, and my original D-550. The latter has some of my own sounds I created many years ago, but instantly evoke the sound of the ’80s. This was very important to the overall tone and vibe of Hyperbrawl.

I also loved mixing, say, the JUNO sounds with the JUPITER sounds. I also used the JUPITER arpeggiator on many of the parts as this added an extra melody or rhythm and is very different from the often more-complicated DAW versions."

"The new TB-303 was used with the sequencer as that often created cool musical bits that I could render out of the track and re-position in different spots.

Finally, lots of TR-808, TR-909, etc. I also used the hardware TR-8 on a few tracks as I like the instant hands-on way of creating a rhythmic beat. Apart from Roland Cloud, I used much of my Eurorack modular synths and some of my vintage hardware drum machines my Linn LM1, Simmons SDSV, and CR-78."

"The new TB-303 was used with the sequencer as that often created cool musical bits that I could render out of the track and re-position in different spots.

Finally, lots of TR-808, TR-909, etc. I also used the hardware TR-8 on a few tracks as I like the instant hands-on way of creating a rhythmic beat. Apart from Roland Cloud, I used much of my Eurorack modular synths and some of my vintage hardware drum machines my Linn LM1, Simmons SDSV, and CR-78."

"The new TB-303 was used with the sequencer as that often created cool musical bits that I could render out of the track and re-position in different spots.

Finally, lots of TR-808, TR-909, etc. I also used the hardware TR-8 on a few tracks as I like the instant hands-on way of creating a rhythmic beat. Apart from Roland Cloud, I used much of my Eurorack modular synths and some of my vintage hardware drum machines my Linn LM1, Simmons SDSV, and CR-78."

"I also used the stand-alone version of Melodyne. For example, if I used a sound library FX and needed to exactly change the key or chord to fit the score. I also used Synchroarts ReVoice again as a creative tool to pitch shift or time-align my “vocal” sound design."