Wally Badarou

"Take for instance the MSQ700, the Roland sequencer we used a couple of times with Level 42. It gives a different feeling to each note, depending on how long you've been holding this or that key, even if you quantise. On top of that, it takes somebody to create a part, so even if you step write, it's still human."

"At home I have a DX7, a Prophet 600, the Linn 9000, a couple of TX racks, a Macintosh with Performer sequencing software, and an eight-track mixing desk for making some rough cassette mixes and to add effects. I just use it for recording ideas, which I later work out in Nassau. I create by improvising, and having a recorder open all the time."

"It involved a New England Digital’s Synclavier II PSMT system, and early MOTU’s Performer sequencer running on Apple Macintosh SE-30, both controlling an impressive array of tone modules via MIDI exclusively. All synths were mixed through an Allen & Heath Brenell 20-channel desk directly to a Sony PCM-F1 digital stereo system, no tape machine in between, and absolutely no sampling involved (neither Digital Performer, nor ProTools existed yet)."

"It involved a New England Digital’s Synclavier II PSMT system, and early MOTU’s Performer sequencer running on Apple Macintosh SE-30, both controlling an impressive array of tone modules via MIDI exclusively. All synths were mixed through an Allen & Heath Brenell 20-channel desk directly to a Sony PCM-F1 digital stereo system, no tape machine in between, and absolutely no sampling involved (neither Digital Performer, nor ProTools existed yet)."

"Tone modules consisted of Sequential Circuits Prophet 5, Oberheim OB8, Yamaha TX-816s, Korg DVP-1, and Synclavier’s own FM modules. Lexicon PCM-70 was the only reverb unit used throughout the album."