Ulrich Schnauss

Its the E64 Classic Sampler

"I think with effects it’s actually quite similar to synths. I just try to buy stuff over the years that has an interesting character and adds a unique element to the overall sound, and the URSA MAJOR certainly does - that’s a very odd sounding unit," says Ulrich Schnauss, at 3:45 in this video for Future Music Magazine.

"The QRS is probably the opposite of that, where the Ursa Major is very low-fi, and very gritty, this is probably one of the most high end most expensive sounding reverb i’ve ever heard. I actually think it’s superior to something like the expensive Lexicon stuff," says Ulrich Schnauss, at 4:07 in this video interview with Future Music Magazine.

At 4:11 in this video with Future Music Magazine, the SBF-325 can be see just below the Ursa Major Space Station.

"...again that’s quite a weird one as well (points to the TAM-19), I suppose you can say it’s a flanger mostly, but at the end of the day it’s just a very brutal modulation effect," says Ulrich Schnauss, at 4:38 in this video interview with Future Music Magazine.

At 4:52 in this video with Future Music Magainze, Ulrich talks about this module saying "that Eventide stuff is classic anyway I think - I have a H3000 here as well but I think for, especially for sort of chorusing I think this is - I prefer this even - this is one of the nicest choruses I know."

At 4:50 in his interview with Future Music Magazine, Schnauss says "Obviously, all that Eventide stuff is classic. I have an H3000 here as well."

At 6:24 in this video with Future Music Magazine Ulrich says "maybe one thing that I should mention is my favorite effects unit of all time - that’s probably why I have two of those as well, the Publison DSM 89 B 2."

At 6:40 in this video with Future Music Magazine you can see the MXR Flanger directly above one of Ulrich's Publison DHM 89 B2's.

At 2:34 in this video with Future Music Magazine, Ulrich talks about the GL4000 saying "I’ve been mixing stuff in the box for the last eight or nine years probably, and I always had a subjective feeling that the results weren't quite as good as the results that I used to have when I was still using a desk before that. I think the biggest problem is not even so much individual sounds, but when it comes to summing in the end, I always had the impression that the overall sound picture I was getting was lacking sort of detail and clarity and those details as well as separation and presence of individual elements. This summer I was working at a studio where I had the opportunity to use a desk again after a longer period of not doing it, and I just noticed that it wasn't just a subjective impression, I think actually objectively the summing is better in a desk, and that's why I decided to put one into the studio again."

A Boss VF-1 can be seen underneath Ulrich's Korg Triton Rack at 8:05 in this video with Future Music Magazine.

“I just got this recently as I got interested in tempo-based modulations and while you can’t sync the LFOs to MIDI, you can trigger the filter envelope with MIDI signals and it works very nicely with any rhythmical, sequency stuff. It’s very characterful and powerful,” says Ulrich Schnauss, in this interview with Future Music Magazine.

A MOTU 828 MK1 can be seen on Ulrich's desk at 1:42 in this video with Future Music Magazine.

A Ensoniq DP/4 can be seen above Ulrich's Oberheim OB-Mx at 1:53 in this video with Future Music Magazine.

“I just got this recently as I got interested in tempo-based modulations and while you can’t sync the LFOs to MIDI, you can trigger the filter envelope with MIDI signals and it works very nicely with any rhythmical, sequency stuff. It’s very characterful and powerful.” - via [Music Radar}(http://www.musicradar.com/news/tech/in-pictures-ulrich-schnauss-london-studio-594928/8)

A DX Programmer is shown and described at 2:42 in this studio tour with MusicTech. Ulrich says "Over here, there is a classic that everyone will know, the DX7, but what's nice about this is that at some point I managed to buy a programmer for it. Only, I think, about twenty or twenty-five of these exist. The DX7 is obviously a great and very versatile instrument, but it's very difficult to program, and the good thing with this programmer is that it makes this process a lot more intuitive."

At 5:16 as the camera pans left to right in Ulrich's studio we can see his Apple iPad running Waldorf Nave.

A StudioCube can be seen underneath Ulrich's Korg Triton Rack at 8:09 in this video with Future Music Magazine.

The Doepfer MAQ can be seen at the top left at 1:23 in this video with Future Music Magazine.

A Roland - System 100M can be seen above Ulrich's Tannoy monitors at 1:26 in this video with Future Music Magazine.

A Oberheim OB-Mx can be seen behind Ulrich's head at 1:53 in this video with Future Music Magazine.

At 5:16 in this studio tour with MusicTech, Ulrich points to his Yamaha CP80 and says "That's the piano. Its a semi-electric piano, the Yamaha CP80. Works a bit like an electric guitar. It has strings so you can also play it when it's not amplified, but there's pickups inside and you can plug it straight into a mixing desk and it's quite easy to record that.".

At 6:33 in this studio tour with MusicTech, Schnauss says "I'm running Logic on that. That's what I use to sequence and record." Judging by the release date of this video and what's displayed on screen, this was most likely Logic Pro X.

At 5:16 as the camera pans left to right in Ulrich's studio we can see his Apple iPad running Waldorf Nave.

Two Tannoy DMT speakers can be seen throughout Schnauss' interview with Future Music Magazine. The best shot you can see them in is at 1:30 when Schnauss plays us a sample.

In this article from Music Radar, Schnauss says about the monitors "I always liked these very much because they’re very honest. They’re quite brutal, not like hi-fi speakers. But that’s great because when something sounds spacious and wide on these it’s going to sound good on any system.”

When talking about his Korg PS-3200 during a studio tour with Music Tech magazine, Ulrich Schnauss says [@ 5:42], "It has a very interesting sound as well, because it's using… a kind of octave divide technology which makes it fully polyphonic, although it doesn't have 32 or 48 or whatever oscillators. It's the same technology that was used in 70's string synths, and has a bit of a similar sound to those as well..."

The first synthesizer shown in Ulrich's "Studio Tour" video by MusicTech is a Elka Synthex. This can be seen at :07s with Ulrich saying "it’s a polyphonic synthesizer from the 80s - it has a quite a particular sound."