Steve Levine

"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."

"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."

"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."

"In the past I used the Lexicon 224, 480 and to this day I still use the PCM 42. With Lexicon, you know the type of effect you are going to get and what the quality of the sound is," he said. "With the younger generation of musicians, they don't necessarily know the heritage of Lexicon, but when they hear something they like, they will ask you what they are hearing. That has been the case on more than one occasion when I've been using the Lexicon plug-in."

"In the past I used the Lexicon 224, 480 and to this day I still use the PCM 42. With Lexicon, you know the type of effect you are going to get and what the quality of the sound is," he said. "With the younger generation of musicians, they don't necessarily know the heritage of Lexicon, but when they hear something they like, they will ask you what they are hearing. That has been the case on more than one occasion when I've been using the Lexicon plug-in."

"In the past I used the Lexicon 224, 480 and to this day I still use the PCM 42. With Lexicon, you know the type of effect you are going to get and what the quality of the sound is," he said. "With the younger generation of musicians, they don't necessarily know the heritage of Lexicon, but when they hear something they like, they will ask you what they are hearing. That has been the case on more than one occasion when I've been using the Lexicon plug-in."

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."

"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."

"I've got the complete Oberheim system (DMX, DSX and OB8), a Prophet T8, and I still use Prophet 5 now and again. I have got a problem at the moment though because it seems almost everything is going over to MIDI. I've actually got the very first MIDI OB8 - I had it converted. I'm pretty sure it's the first one because Chase Musicians - where I buy most of my synths - had only this one in stock: I got it for the studio and they wanted to keep it in the shop! (An Oberheim-sanctioned OB8 MIDI retro-fit has been available since January.) It's proved very useful for running the DSX sequencer with other synths."

"I've got the complete Oberheim system (DMX, DSX and OB8), a Prophet T8, and I still use Prophet 5 now and again. I have got a problem at the moment though because it seems almost everything is going over to MIDI. I've actually got the very first MIDI OB8 - I had it converted. I'm pretty sure it's the first one because Chase Musicians - where I buy most of my synths - had only this one in stock: I got it for the studio and they wanted to keep it in the shop! (An Oberheim-sanctioned OB8 MIDI retro-fit has been available since January.) It's proved very useful for running the DSX sequencer with other synths."

"I've got the complete Oberheim system (DMX, DSX and OB8), a Prophet T8, and I still use Prophet 5 now and again. I have got a problem at the moment though because it seems almost everything is going over to MIDI. I've actually got the very first MIDI OB8 - I had it converted. I'm pretty sure it's the first one because Chase Musicians - where I buy most of my synths - had only this one in stock: I got it for the studio and they wanted to keep it in the shop! (An Oberheim-sanctioned OB8 MIDI retro-fit has been available since January.) It's proved very useful for running the DSX sequencer with other synths."

"I've got the complete Oberheim system (DMX, DSX and OB8), a Prophet T8, and I still use Prophet 5 now and again. I have got a problem at the moment though because it seems almost everything is going over to MIDI. I've actually got the very first MIDI OB8 - I had it converted. I'm pretty sure it's the first one because Chase Musicians - where I buy most of my synths - had only this one in stock: I got it for the studio and they wanted to keep it in the shop! (An Oberheim-sanctioned OB8 MIDI retro-fit has been available since January.) It's proved very useful for running the DSX sequencer with other synths."

"I've got the complete Oberheim system (DMX, DSX and OB8), a Prophet T8, and I still use Prophet 5 now and again. I have got a problem at the moment though because it seems almost everything is going over to MIDI. I've actually got the very first MIDI OB8 - I had it converted. I'm pretty sure it's the first one because Chase Musicians - where I buy most of my synths - had only this one in stock: I got it for the studio and they wanted to keep it in the shop! (An Oberheim-sanctioned OB8 MIDI retro-fit has been available since January.) It's proved very useful for running the DSX sequencer with other synths."

"The TR909 is one of the few things I've been using on the drum side apart from the LinnDrum. I've used it on some of the sessions for Helen Terry's solo album, and it's worked very well indeed. It doesn't sound like the Linn at all, but I do think that sometimes the Linn can sound a bit samey, and I like to have some variation. What I like very much about the 909 is its' flamming ability, which is so easy to use."

"The TR909 is one of the few things I've been using on the drum side apart from the LinnDrum. I've used it on some of the sessions for Helen Terry's solo album, and it's worked very well indeed. It doesn't sound like the Linn at all, but I do think that sometimes the Linn can sound a bit samey, and I like to have some variation. What I like very much about the 909 is its' flamming ability, which is so easy to use."

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

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

Throughout this video Steve Levine is sitting in front of a Roland A800 Pro.

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

Steve Levine can be seen playing a Native Instruments Komplete Kontrol S61 MK2 at 5:36.

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."