Moonbase69 uses the following equipment:
| Synthesizers |
Alesis - Andromeda A6
16 voices, 2 oscillators each, 3 envelope generators, 2 multimode filters, one modeled on a moog filter, the other on a Oberheim SEM filter, built-in effects, 2 LFO's, a modulation matrix.. Yep, it's the stuff of dreams!
Well, it was of Den's dreams anyway. After hanging out in our favorite music-store once again some time ago, we were trying out some synths, and Dennis bumped into the andromeda that was on display. So he plugged in some headphones, struck some keys and was immediately awestruck at the sounds his ears suddenly perceived. Such definition and clarity, and such liveliness! The poor guy was in for another shock when he noticed the price that comes with such gear.
Anyway, the thing is worth every penny. While we're not exactly overusing the machine, it does have a prominent place in our studio, and has a habit of satisfying everything we demand from it, and in doing so, stamping our music with it's unique character.
Roland - JX-3P
This is Payt's 3rd synth. After having had the Roland JV-80 for a while, it seemed time to expand the spectrum of sounds with something with some more 'body' to it, when compared to the thin-ish sounds the JV-80 tends to produce. The JX-3p, although a bit limited in its possibilities, does have a unique sound. It's not exactly as 'fat' as a true analog synth, but it does have the hands-on feel and directness of programmability of one (as long as you have the external programming unit). It excells in metallic sounds and some really weird and wonderful clangorous stuff. Nowadays, it's mainly catching dust in a corner of the studio, waiting to be re-discovered one day.
Roland - Juno-60
One fine day Payt went to the local music-store (feedback) to just have a look at some of the gear, when his eyes caught a glimpse of what turned out to be this beast. In this day and age, six oscillators may not sound like a whole lot, but somehow it manages to sound incredibly rich. Each osc features a sub-oscillator, and all waveforms can be switched on simultaneously. Add to this the woolliest chorus you've ever heard and you're in for a blast. This synth does some nice strings, organs and basses. Don't even think of anything sounding remotely realistic, anything coming from this synth will sound like just that: a synth. It has no midi, which is a bit of a shame, since it results in being heavily underused.
Roland - JV-80
Somewhere around 1993, Payt managed to save enough money to be able to buy a new synthesizer. It wouldn't entirely be his first, since he already owned a Korg Poly 800. This synth proved to be frustratingly limited in its possibilities, so it really was time for something usefull.
In these days, multitimbral synths were becoming the new norm. There was the Korg M1, which had set new standards for sound-quality. Just like the Yamaha DX-7 had done some time earlier, M1's were to be heard on almost every other record. There were some other contenders to the crown though. There was the Roland D-50, for instance, which did have an interesting (if flimsy) way of generating sounds, which was also (in part) based on samples.
That's when Roland released a new monster-synth, in the shape of the JD-800. It featured loads upon loads of sliders and buttons, which harked back to the era of analogue synthesis. However, at the heart of this synth were no voltage controlled oscillators, but a digital synth-engine based on samples. It caused a revolution in synth-world. The combination of easy programmability with killer sounds made it very popular with synthesists.
Roland went on to base more synths on this engine, one of which is the JV-80, which was one of the first spin-offs. It offered basically the same flexibility, but in a redesigned casing which would be cheaper to produce. Despite this, the JV-80 is still pretty easy to program. It has 8 sliders to which you assign any parameter you like. Any patch consists of 4 independently programmable voices, each with it's own filters, envelopes, waveforms, etc.
Add to this some pretty decent effects, 28 voice polyphony, drum maps, and a very nice keyboard, and you have a tool for composing. This is exactly what Payt did for several years, trying out different styles, varying from funky stuff to ambient, all of which the JV handled equally well.
As always, the JV does have a character of it's own. The sounds it produces can sound harsh, brilliantly clear, but there's always a transparency to them.
The JV is featured on most Moonbase-productions, a good example being Firefly.
Roland - JP-8000
Peter still remembers the day when he first saw the picture of this synth spread out over 2 pages in a gearlust-magazine. That was the day he knew he needed this synth. The rather favorable review only helped him support the notion that this object of desire would be a usefull addtion to the growing rig of equipment.
It's distinct sound is to be heard on most, if not all, of the music made by Moonbase. Varying from pumping bases (such as the one in Phat woozy) to majestic strings (firefly), it turns out to be a real workhorse. One of the factors contributing to this is the ease in which one can patch sounds on it. Every funtion has it's own dedicated knob, just like in the good old days of analogue synths. This was a breath of fresh air in times where every other synth confided it's programmability to menu's upon menu's of parameters, hidden behind letterbox-displays of mysterious abbrevations, and a set of cursor keys.
We still love the synth. It has become a classic in it's own right. It doesn't sound exactly like a true analog synth. It's not quite as fat as, say, a moog, but delivers a broader spectrum of possibilities when it comes to different 'colors' of sound.
Yamaha - S-80
There was a time when the moonbase studio consisted almost exclusively of synths which were either analog, or were trying veru hard to sound like it. Ofcourse, there's nothing wrong with that, unless you want to feature, say, a believeable piano in your song. We did have tho old JV-80, but as nice as this synth may be, it is showing it's age through the use of compressed samples. The advantage of this is that you can stow more samples in rom, but the disadvantage is that most sounds sound 'thin'.
Enter the S-80. We fell in love immediately after having played on it for a few minutes. The combination of some really good sounds (realistic piano's, warm EP's, nice choirs and strings, etc) with the best weighed keys you can put your fingers on without having to buy a real steinway piano, makes for a real winner. Not too surprisingly, it is now the main midi controller in our studio, and I've got a feeling that you're going to hear quite a bit more of this sonic heavyweight (it weighs about 25 kg. as it turns out, Dennis has a knack for heavy equipment).
| Synth Modules |
Clavia - Nord Rack 2
Clavia has the honor of being the first company to release a digital synth which mimics an analog one. This happened in a time when the market was flooded with synths which seemed to have as their intent to frustrate its user. They all looked alike: a black box with some incomprehensible 'name' (such as Korg 01/W-R).
Suddenly, there was this obnoxious little red synth with actual buttons and knobs! It looked the business (as it still does) with its sleek design, streamlined shapes and irresistibly blinking leds. Moreover, Clavia in all it's wisdom decided to baptize their baby with a real name; 'Nord Lead'. The first version featured a staggering 4 voices, expandable (at considerable cost) to 12. A few years later Clavia released the Nord lead 2, which is basically the same synth with a few added features (more filter types, for example) and 16 voices standard.
Oh, and did I say it does sound really good too? Once again, it's no real analog synth, but it comes pretty close. It does have fatness, while still retaining clarity. Little wonder this synth has found favor with us since the day we got it, which is just over a year ago, if I remember correctly.
Novation - Nova
A few years ago, I went to the Frankfurter messe with some friends. After strolling around for a while, we encountered the Novation stand, where someone was demonstrating the prototype of the Novation Supernova. I talked to the guy who designed it and who programs most of the sounds for it for a while, and he demonstrated some of it's sounds. I thought it sounded pretty cool, and promised myself that if i ever had the cash to buy one, i would.
Novation offered a helping hand by releasing a slightly stripped version of the supernova, in the shape of the Nova. Nova offers exactly the same synthesis possibilities, but in a smaller casing and sacrificing a few buttons, and with fewer 'voices' (12 instead of 24, which eventually became 16 voices through a software upgrade).
The nova offers flexible synthesis, with a plethora of filters, 3 oscillators per voice, dedicated effects for each midi channel, 6 part multitimbrality, ring modulation, and an extensive modulation matrix.
Despite all the flexibility, it does have a character of it's own. Some will say it sounds 'plastic', which isn't always desirable. Still, with some skilled programming, you'll get amazing sounds from this blue beauty. It has been the workhorse in the moonbase studio for several years, and can be heard in pretty much every song we make.
| Mixer |
Tascam - DM-24
After we sold our previous mixing-board, we were in urgent need for a replacement. We were used to working with our Behringer MX-9000, which we thought was a great console, even though it did have a few quirks. One thng we did learn from it, was basic mixing, buses, eq-ing, how to apply things like effects, inserts, and more technical issues like that.
Dennis first had a Yamaha O1V96 in mind, which seemed like a very nice digital desk, which would certainly fulfill our needs. However, after having a second glance on the alternative in the form of the Tascam DM-24, this desk left us with the impression that it was way more userfriendly. For one, it sports some inviting buttons dedicated to EQ, has a clearer display, and the overall impression was one of solidity, and an interface with a musician in mind instead of a technician.
After having used it for a few times, one thing became painfully clear: our previous console (the MX-9000) sounded wooly, almost messy, in comparison to the crysstal clarity our ears were subjected to all of a sudden through the processors of the MD. Once you've wrestled with the rather steep learning-curve, a new world awaits you in which flexibility takes on a new dimension. Everything can be routed to everything, and most importantly, your settings can be saved to memory! No more having to finish a project because you'll loose your settings! And let's be honest, who wouldn't go bonkers at the sight of those flying faders? Lord Fader is definitely a force to be reconed with on our moonbase.
| Sampler |
Akai - S2000
The Akai S-2000 is the machine that provided us with the ability to use custom sounds in our music. Something anyone will appreciate when you've worked with standard drum kits and sounds from synths for long enough. This is especially true when you're the owner of a JV-80
Actually, the problem was that all I had for drums was the drum kit of the JV-80, which is really nice as long as you're not trying to sound like 'the Prodigy', 'Fat Boy Slim', or anything but the kind of music you would hear during a really cheap commercial from your local supermarket, or Tangerine Dream, for that matter.
So there was the need for a more flexible and especially more natural, fatter sound. This the Akai provides in truckloads. It has been the core of many a track from Moonbase, as well as other projects.
Recently we've kind of rediscovered it, since it has become so much easier to program through software on the PC. Also, we've expanded it with a zip-drive, annihilating the necessity of diskettes (which became a real annoyance).
| Modules (Effects, Compressors, etc.) |
Behringer - EX-3100
Lexicon - MPX200
T.C. Helicon - Voiceprism
This machine is the ultimate solution for those who aren't too sure about their singing-skills, yet willing to give it a try with the help of some 'corrective' measures. Well, that's one option, anyway. Actually this thing can make you sound like anything from Barry White to an alien high on smarties. It analyses any signal that comes in (should be a voice), and then transforms it in it's idea of what a voice should sound like. That is, you can adjust all sorts of thing; the timbre of the voice, the pitch (this can be 'quantized' to proper pitches, or forced in any kind of key to your liking). One can also make the pitch to follow a midi-signal. The VP has proven its worth over and over again, and is featured on a few of our songs, such as Phat Woozy and Winds of Change.
Besides all the voice-fun, it's also a pretty decent effects-processor, with some nice reverbs, flangers, choruses, and the whole gamut of other fancy stuff. Another fine feature is the way that machine feels.. It seems to be coated in some kind of rubbery stuff, which gives it a feel of luxury.
| Recording |
Shure - SM57 and SM58 ('75 Anniversary Limited Edition)
| Amplifier, Speakers, Headphones |
Denon - AVR-3200
Dynaudio - BM-6P
Beyer Dynamic - DT990pro (2x)
| Guitar, Guitar Effects |
Fender - Stratocaster (K1000 version)
This is an object with 6 strings. I never really figured out how it works (you just pull the strings and play chords, ed), but I figure it has to do with pulling the strings (that's right, ed). Anyone able to create anything resembling music on an instrument like this earns my deepest respect. I mean.. think about it: first you have to squeeze your hands in all sorts of impossible positions on the strings, and once you done this, you still have no sound. You then have to proceed to pluck the right strings in order to hear anything at all. Supposing you manage to accomplish this feat, you have to go through the entire process over and over again if what you're playing is to consist of anything more than 1 chord.
Having said that, this instrument does have a tendency to sound really nice. K1000 built it himself, in part, according to his own specs. If I ever get K1000 to inform me on the secret ingredients of this beauty, I will indulge you guitarheadz with the facts.
K1000's view on his beloved guitar
This custom Stratocaster is the fruit of my relentless perfectionism. Loving the souds of a certain Mr. Stevie Ray Vaughan, and not liking many things about most standard Fender Stratocasters, I decided to have one built.
The Perfect Neck
First of all I had to have a big neck. And I wanted to prevent any neck-warping defects. It just so happens that a bunch of progressive guitarbuilders in a place nearby (Vox Humana in Vlaardingen) had come up with a single bent truss rod embedded in a heart of carbon fiber. This solution prevents many problems a neck might develop, such as warping, kinks at 14th fret, rattling of the truss rod, and so on. And, of course the tone all but suffers from the resonance-free lightweight carbon fiber. The neck woods consist of Canadian rock maple for the main part, a very hard and stable kind of maple, and a very nice piece of Brazillian Rosewood for the fretboard. Brazillian rosewood can be considered to be the holy grail of fretboard woods, with a tone between maple and Indian rosewood, and superb durability charactaristics. I was very lucky to obtain the last piece in stock, as it is a protected species and becoming increasingly rare.
The Perfect Body
Since Stevie Ray Vaughan's strats were all made out of alder (like most solid-colored Strats), the choice of wood for the body was an easy one. I had to have the one-piece body, though, because it just looks so nice. Warmoth provided me with a nice old darkish colored body.
The Perfect Soul
They say that the pickups are the soul of the guitar, so I carefully considered my options. One option was to go with the standard Fender pickups, but since these are also known for the hum they produce, I decided to look around some more. It didn't take long for me to hear about Mr.Chris Kinman, a fellow perfectionist from australia. Mr Kinman had made it his life mission to get rid of Fender style pickup hum and hiss, and improve overall tone. Atlthough he'll probably never cease to improve his products, I'd say he has more than succeeded. The list with improvements is way too long to mention here, but I can tell you that the fact that they're more quiet than humbuckers is just the icing on the cake. It is ofcourse needless to say that I love Mr Kinman, and WILL kiss him on the lips if I ever meet him, even though I'm not gay. The sound is just pure strat bliss.The specific set I chose was ofcourse the SRV-kind, which is the kind that sound bigger and less transparent than standard pickups.
Last thing that is not standard about my Strat is the fact that I omitted one tone knob, leaving me with just a master tone and a master volume control. Nice and simple. The rest:
-gotoh tuners,
-22 Dunlop 2100 frets (the biggest they make),
-a non trem bridge (in a non trem body), because I think I'd hardly ever use it I don't think it would have been worth the never-ending setup-hassle.
After putting it together myself (I did most of the drilling and screwing and soldering) I think I'm one of the very few perfectionists who can rightfully state: This thing's finished! (sure ed.)
Now maybe I'll learn to play it someday aswell.....
Washburn - B10 (Left handed)
Boss - GT-6
Line6 - Pod 2.0
Dunlop - Cry Baby (K1000 version)
Ibanez - TS9 'Tube Screamer' (K1000 version)
This little seasick-greenish box provides a mild bluesy overdrive, and lets the tone of the guitar shine through. It also lets the tone cut through the mix a lot better. Playing through a Pod, this thing is my overdrive-holygrail. O yeah, the little switch is my own modification, since I refuse to disconnect the cable each time I quit playing to avoid battery drainage. It seems as though none of the stomp-box manufacturers are ever gonna bother putting these switches on themselves.
| Owned it, but sold it |
Novation - Drumstation
Once, there were real drummers who accompanied a band in times where acoustic drums were all you could get. Then, in the late '70's and early '80's the first synths and drum computers showed up on the scene. It didn't take long before they determined much of the sound of popular music. Real; drummers started to try to sound like drum computers, while drum computers were trying as hard as they could to sound like real drummers.
Its strange how things happen at times. This box is based on 2 previous drum boxes made by Roland. The first one, the TR-808, was clearly still from the time when drum computers still sounded like drum computers.. that is: ploppy thin unrealistic 'drums', yet with a distinct sound which did become fashionable.
The other 'box' was the TR-909, the follow-up to the 808. IT still sounds like a drum computer, even though it now starts to include a few samples of real drums, along with the somewhat familiar synthetic drums.
The original drum computers regained popularity with the advance of house music, which seemed to base it's entire existence on the kinds of sounds produced by the 808 and 909. Demand grew so high that several companies started recreating drum computers that faithfully reproduced the sounds of the originals.
The Novation Drumstation is one such machine. I loved the idea of having a machine dedicated to drums, if only for the offered ease of use when composing music. It saves a lot of inspiration when you don't have to program drums into a sampler first.
The Drumstation is featured on quite a few Moonbase-tunes, such as winds of change and firefly
Reason for selling
Cubase SX VSTi's: Battery and Waldorf Attack.
Alesis - NanoVerb
Reason for selling
Cubase SX VST's: several.
Behringer - DSP-9024
Reason for selling
Cubase SX VST's: several.
Alesis - HD24
Imagine the relieve of being in the possession of this machine after having to work with cd-recordables and minidisk-players to record your music. All of a sudden you have 24 tracks of recording-freedom at your disposal, noise free, easy to operate as well.
It's just lovely to be able to record 24 tracks of music, one by one or all at once. If 24 tracks sounds like a lot, don't worry; already we've had a few instances in which we needed to do some creative copying and pasting to be able to record all the tracks we created for a particular song. Still, if you keep in mind that some of the all-time classics have been made on inferior equipment than this, we do have a good reason to consider ourselves lucky to have it. The advantages compared to analogue tape are numerous, as anyone who has ever been entangled in yards and yards of tape, trying to move that guitar-lick to another place in a song will acknowledge. We now have to ability to copy tracks, move them anywhere in a song, transfer them individually to and from the computer.. the possibilities are endless.
This machine has been the heart of the studio (together with the DM-24 and formerly the MX-9000) for some years now, and it still delivers quality.
Reason for selling
Cubase SX
Boss - GT-3
Reason for selling
Boss GT6 and Cubase SX