The business end
The studio is software based and runs EMAGIC LOGIC and CUBASE. Stalwart plug-ins include: AMPLITUDE, T – RACKS, 303’s, 808’s, 909’s, and of course… the MIGHTY EXS24, which contains thousands of samples, but interestingly, very few loops. We are not loopy types! The sounds you hear on the current CD are played via instruments; and even if one is going to use a midi sound, actually ‘playing it’ is still the only way to capture subtle nuances and intonations. Besides… we enjoy playing!

The APPLE MACINTOSH QUICKSILVER G4 is the mother ship, but two outboard G3’s and a hammered 8200 (our very own R2D2) still play their parts in aligning older gear.

Recent compositions started life on bass guitars and were further developed on the PEAVEY CYBER BASS, Which has proven to be an outstanding instrument. There are very few CYBER BASSES in the country, which is something of a surprise, because it was heralded by JOHN ENTWISTLE and producer bands like THE ART OF NOISE. Not only is it a great sounding and responsive instrument, with the lowest action we have ever encountered, but its versatility as a recording tool is truly excellent; everyone should have one of these babies… they are just great fun!

We still have the DX7, the ROLAND… and even a toy CASIO, but they have all ( even the CASIO ) been made redundant by a beautiful silver machine: THE KORG TRINITY PRO X. Sometimes one just clicks with a particular instrument, as if it were a natural extension of ones own thinking processes. Working on such instruments becomes totally fluid and effortless. White cat is not a great fan of machines that require you to scroll through endless pages to get to the desired parameter. By the time you have ARRIVED AT the required page, invariably, you have totally forgotten what you were going to do! Now, who builds machines like that? Anyway… the KORG: a titanium shell, with touch sensitive keys and display panel – how STAR TREK is that? The sounds? Well, there are enough to last a lifetime; and when aligned to the BEHRINGER gear… it sounds just awesome; pumping out beautifully articulate, detailed and transparent sounds. So, regardless of the musical task, the KORG will fulfil the requirements – little wonder it has become an industry standard – it does the business!

Basses, keyboards and the odd guitar…and that’s about it. we tried accumulating as much gear as possible, because a studio could not possibly function without all of those logos and bits and bobs, but one soon discovers that devices are often totally obsolete even before they are put in the racks; give us a minimalist, wire free, clutter free, dust free studio any day. Without doubt, software is the way forward; and a great deal cheaper too!

In recent years we have experimented with a variety of different studio monitors and were lucky enough to purchase some of Yamaha’s last batch of NS 10M’s. You will find such monitors balanced on top of nearly every mega-buck mixing console ever built; and no wonder, because you can hear absolutely everything! And that is quite helpful if you are composing music… or slightly deaf.

Rack gear:
• Alesis r.a.300
• Peavey cyber bass module mark 1
• Peavey cyber bass splitter box
• Signex isopatch 48 way balanced patch bay
• Mark of the unicorn 2408 digital/audio converter
• E magic active midi transmitter
• Behringer ultra – di 4000
• Behringer – autocom pro XL compressor/limiter mdx 1600
• Behringer – ultra q pro peq 2200
• Line 6. Bass pod
• Apple Macintosh Quicksilver G4

Scattered gear:
• Apple Mac G3 x 2
• Apple Mac 8200

Travelling gear:
• Yamaha QY700 Midi Sequencer
Basically, it’s a music laptop. Great for sketching out ideas on the train… but not so groovy when driving. In the studio, the QY700 links with the apple Macs and supplies all of our general midi requirement; and takes the strain off of the processors.

Favoured live gear:
• Trace Elliot bass amplifier
• Carlsboro Stingray Pro Bass 300 Bass Amplifier
• Ernie ball bass
• TL Audio Tube Compressor
• A myriad of foot pedals, but still our favourite ones are the boss bass series; for they give you just what you want and are rather useful within the studio.

So… these are the things that are used to produce music.

Eventually, a recording studio will consist of a computer, a screen and a few choice instruments; and that day cannot come quickly enough. With less gear, we wouldn’t need to write so much in this section.

The studio and the things therein, are not really that important. They are (as stated earlier) ‘mere things’. Only the music qualifies any significance; but even then, without ideas, emotions and memories what would music be?

Invest in people not things… but just make sure that they are the right people.

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