My home studio with Chief Technician alert :-)

My home studio

Please click on the product title to find more info on each item.

Yamaha Clavinola CLP-411
  • Wonderful piano sound created by dedicated stereo sampling.
  • Excellent hammer-like key movement resembling a real piano.
  • The CLP-411 is a mid-range model in the Yamaha e-piano production line. It gives good sound and a suitable amount of features that sums up to very much piano for your money.
    Date-of-purchase: Jan. 1997

AKAI S5000
  • This 9 kg monster is without doubt one of the finest hardware samplers around.
  • There is a lot of everything on this model: max 256 MB RAM, 64 voices polyphony, 26 different resonant filter types, powerful 20-bit internal effects, and up to 16 analogue outputs. And a 1GB SCSI hard disk.
  • The generously sized 6" screen makes it very easy to work with. Using .WAV file format as the standard for storing samples offers seamless editing on a PC.

    Model launced in 1998
    Date-of-purchase: May 2002

Roland S-760
  • The Roland S-760 is a multitimbral sampler that fits in a single rack space.
  • The internal sound processing is 24-bit, A/D is 16-bit and D/A is 18-bit.
  • For working with the sounds you have digital EQ, time stretching, sample rate conversion. Polyphony is 24 voices.
  • 32 MB internal memory (upgraded to maximum from standard 2 MB).
  • Floppy disk, SCSI port and two stereo outputs as standard.
  • Expansion board available for additional digital outs, external monitor and mouse for easy editing.
  • The S-760 is a still-going-strong model from 1994.
    Date-of-purchase: Dec. 2001

Roland JV-2080
  • Great natural sounding instruments, particularly with these expansion boards:
  • Maximum number of eight expansion boards.
  • Strong sound processing capabilities with tree effect processors. Three pairs of audio out ports makes it easy to route tracks to different outboard gear.
  • Possibility to fine tune the patches with a multitude of settings.
  • A workhorse that I use mainly for natural-sounding instruments.

    Model launched in 1997
    Date-of-purchase: Aug. 1997

Roland M-SE1 String Ensemble
  • Module dedicated for classical string instrument sounds.
  • Offers greater control of subtle string-distinctive playing nuances.
  • These I have two units of. It is well worth it because the M-SE1 offers such fine sounds only in patch mode and because the special 3-D string waveforms created with Roland's proprietary RSS (Roland Sound Space) technology.
    Date-of-purchase: Dec. 1999 and March 2000

Roland JP-8000
  • The sound modelling capabilities of the JP8K are fast and easy to edit. The knobs and faders have an immediate analogue feel in an fully digital setting. Very intuitive!
  • The preset patches are too much dance floor oriented IMHO, but that is easy to live with since refining your own patches is so easy.
  • In the performance mode you are able to build "musical phrases", which could be comfortable when used on a live stage. (Haven't tried this.)
  • The arpeggiator is advertised to be programmable, but this remains a hidden strength on the basis of my modest experience.
  • The keyboard -- 49 keys with springy velocity and light key action -- is somewhat too flimsy for my taste. But the switchable ribbon controller plus the pitchbend multipurpose stick (down to the left) really adds to the expression.
  • The sound that this machine produces can be wide and fat, mostly fuzzy, but always in a mellow way. It is sometimes said to be a dedicated Pad-and-Bass Synth.
  • Among its weaknesses should be noted that the onboard effects (delay, reverb, chorus) are not particulary strong. Also, the limited number of user patches (128) is frustrating.

    Model launced in 1996
    Date-of-purchase: July 1998

Novation Supernova II rack
  • Digital modelling synth with a great analogue feel.
  • The sound is more open and more brilliant than the JP-8000 thanks to greater number of voices. Programming the SN II is more complicated (at least for me!) due to the bigger number of operators and the fact that each rotary encoder has multiple purposes, so you will have to look at the menu display to know the status of each encoder.
  • The presets are only dance floor oriented. And, more surprisingly, they only touch the surface of the capabilities of this machine. I think it is best for vivid and sparkling sounds as well as the more far-out territory.
  • One strange observation is that the sound of SN II in my experience is outright impossible to put thru any outboard reverb or other effects boxes. Perhaps this is because its sound is so multitimbral? Luckily the internal effect circuits on this machine are so exellent that there is no need to enhance the presence of the sound.
  • Very strong arpeggiator with over a hundred premade patterns!
  • Very beautiful deep blue color. And sooo many knobs...

    Model launced in 1998; rack model in 2000
    Date-of-purchase: Dec. 2000

E-MU Planet Earth
  • This is a fire cracker! An amazing collection of authentic rhythms and ethnic instruments.
  • 64 voice polyphony and 32MB sound bank.
  • The presets are quite personal sounding and easy to use right out of the box. But the downside is that the editing menus are difficult to use. To me the MIDI implemetation feels strange, but you seldom need to change any of the defaults.
  • The arpeggiator function and the exclusive SuperBEATs Mode will move any ones' ass!

    Model launched in Fall 2000
    Date-of-purchase: June 2001

Evolver
  • Evolver is an inexpensive monophonic (one voice) synthesizer produced by Dave Smith, one of the big names behind the birth of synth standards of today.
  • This is a analog-and-digital hybrid synthesizer with a very original sound. It is small on the outside but with vast possibilities if you learn to deal with its simplistic lay-out.
  • One nice touch is the possibility to process external audio; it presents many ways to distort, twist, and mangle any sound.
  • The Evolver's emphasis is on making sounds that change over time -- that is where it's name originates.

    Model launched in 2003
    Date-of-purchase: May 2005

Lexicon MPX-100
  • A stereo dual-channel effects processor with 24-bit internal processing, 20-bit A/D-D/A and S/PDIF digital output for a very affordable price.
  • 240 presets with classic, true Stereo Reverb programs as well as Ambience, Plate, Chamber and Inverse as well as Tremolo, Rotary, Chorus, Flange, Pitch, Detune, Delay and Echo. Patch editing by front panel access or MIDI. Tap Tempo for instant setting of delay and modulation times.
  • Dual-channel processing allows control of completely independent effects on the left and right channels.
    Date-of-purchase: Oct. 2000

Roland SRV-3030
  • A 24-bit reverb unit with stereo dual-channel intelligent processing capabilities.
  • 100 presets, and with easy editing possibilities (MIDI as well as front access). One nice feature is the naming of presets: "Room Size", "Wall Type", "Liveness", etc.
  • This box is made only for reverbs, but with high quality. Most of all I like the smoothness of the sound and that even longer reverb tails remain clean.
    Date-of-purchase: May 2001

t.c.electronic M300
  • A 24-bit dual engine processor with many combinations of effects and reverb.
  • The M300 has 256 ROM Factory presets as well as 99 User RAM presets.
  • On comparison, to me the sound of the M300 feels cleaner than Lexicon MPX100, but less warm than Roland SRV-3030.
    Date-of-purchase: Oct. 2002

Alesis NanoVerb
  • 16 bit digital effects processor.
  • Small and inexpensive. Usable but with the quality of sound far from the level represented by the Lexicon.
    Date-of-purchase: July 1998

Phonic MR3243 mixer
  • 24 channel mixer with 4 busses.
  • Each channel is able to be routed either to mix or sub outputs, and each channel can be monitored as solo, mix, sub-mix or 2-track return.
  • This mixer has a very nice three-band equalizer with separate high, low and a swept mid frequencies where the EQ area is selectable.
  • It has a cool metallic look. The knobs and faders have a delicate sensitivity.
    Date-of-purchase: Aug. 2001

Korg MicroKONTROL MIDI studio controller
  • This is a nice portable MIDI keyboard controller for the road or the desktop.
  • It includes a 3-octave keyboard (37-note velocity-sensitive mini keyboard), 8 encoders, 8 sliders, and 16 trigger pads. There is also a very useful four-way joystick.
  • A helpful feature is that each encoder and slider has a small display that indicates the parameter and the transmitted value.
  • Some people feel that the keyes are too small. But that is what you get when you fit 37 keys into 43 cm (approx 20"). Another problem is that the box formula makes it hard to get a grip if you need to lift it with one hand. I would like to have handles or some sort of inlets on the short sides.
  • Perhaps its biggest weakness is that it is so cumbersome to change the MIDI channel, and that it will not display what channel currently is in use.

    Model launched in 2003
    Date-of-purchase: Feb. 2005

Akai MPC1000 sampler
  • This is a nice sampler, drum machine and sequencer. It is marketed as being portable (it is laptop size; approx. A4 paper). I think it is rather heavy, so it is not all that portable.
  • My MPC1000 has 128MB ram (16MB Standard), 4-pole filters and the classic Akai MPC velocity sensitive pads. It has 2 x MIDI in and out.
  • Samples are easy to import and export via a Compact Flash card. It also has USB (slave mode), usefull for uploading sounds if you don't have a CF card reader on your computer. Hard disk is optional.
  • The programming structure resembles that of the Akai S5000. Navigating the menus, using the pads and cursor buttons feels confusing. People say it's fast to work with, though it doesn't feel intuitive to me...

    Date-of-purchase: Apr. 2006

Boss SP-303 sampler
  • This is marketed as a compact (approx. size of an A5 paper), portable phrase sampler for drum sounds. I find it limited -- but practical -- for live use with shorter samples.
  • It has some nice but generously unpredictable onboard effects. And a tricky realtime pattern sequencer that I doubt anyone could master.
  • For looping pre-made samples it is straightforward and intuitive.
  • Recording the loops is more efficient with an ordinary sound/loop editor on a computer. The loops are easy to import to the SP-303 using WAV/AIFF files on a SmartMedia card. The downside is that pre-made samples takes several minutes to load from the SmartMedia card.

    Model launched in 2001
    Date-of-purchase: Feb. 2005

Fostex D-90
  • Digital 8-track multitrack recorder. Good quality but with a user interface more complicated than on an average Moon-lander.
  • Removable IDE standard 3,2 GB hard disk provides with 75 minutes recording time.
  • Non-compressed CD-class recording quality with some editing capabilities.
  • Thanks to the detachable controller I can put the main unit hidden under the table.
  • For back-up of recordings I use an Iomega Jaz SCSI-drive with 2 GB removable cartridges.
    Date-of-purchase: Oct. 1998

KRK Systems V4
  • Active nearfield monitors; small but rugged and with a big sound.
  • Its circuitry is a crucial part of this speaker's success story. The KRK V4 has separate amplifiers for both woofer and tweeter, which makes it extremely clean.
  • The units are shielded against radio leakage.
    Date-of-purchase: Oct. 2002

Emagic AMT8 MIDI interface
  • The AMT8 is a MIDI interface module with 8 lines in and 8 lines out. This results in a 128-channel MIDI interface that is stackable and is able to store different routing setups.
  • A nice feature is the Active Midi Transmission feature that improves MIDI timing in larger setups.
    Date-of-purchase: Dec. 1999

M-Audio Audiophile 2496 PCI Audio Interface card
  • Analog I/O is available on RCA jacks with 24-bit, 96kHz conversion.
  • Output / input: stereo analog, stereo S/PDIF, 1 channel MIDI.
    Date-of-purchase: Nov. 2003

  Programs I use in my music making.
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