Tom Robinson

The mix'n'match approach extends to the actual recording process itself: to inject variety into a guitar part, for example, Tom will have the verses played on an SG through a JC120, and the chorus on a Fender Strat, close-miked through a 50 watt Marshall 'for raunch.' Though he has been known on occasion to use a cheaper method of obtaining that overdriven sound.

For nestling in one corner of the storage room, next to boxes of Shure SM58s (still his favourite mike in defiance of the engineer who makes him use one of the two Neumann 87s the studio has on loan) is an archetypal home recordist's set-up. A Casio CZ101 synth, Roland and Korg drum machines, a Yamaha QX7 sequencer, and a Fostex 250 Portastudio. The only outboard gear is an Accessit reverb — "too semi pro for Mick to pinch for the studio." Nearby rests the original TRB Fender P Bass and two guitars, a Fender Tele and a Squier copy. Typically, Tom prefers the sound of the copy.

For nestling in one corner of the storage room, next to boxes of Shure SM58s (still his favourite mike in defiance of the engineer who makes him use one of the two Neumann 87s the studio has on loan) is an archetypal home recordist's set-up. A Casio CZ101 synth, Roland and Korg drum machines, a Yamaha QX7 sequencer, and a Fostex 250 Portastudio. The only outboard gear is an Accessit reverb — "too semi pro for Mick to pinch for the studio." Nearby rests the original TRB Fender P Bass and two guitars, a Fender Tele and a Squier copy. Typically, Tom prefers the sound of the copy.

The mix'n'match approach extends to the actual recording process itself: to inject variety into a guitar part, for example, Tom will have the verses played on an SG through a JC120, and the chorus on a Fender Strat, close-miked through a 50 watt Marshall 'for raunch.' Though he has been known on occasion to use a cheaper method of obtaining that overdriven sound.