I've been involved with electronic music for over 40 years and I've either owned, borrowed or used a fair amount of equipment. I've written a few brief thoughts about my current equipment list, previously-owned gear, and other equipment I've used enough to form opinions.
Allen ADC 2140, 2 manual, AGO pedalboard digital church organ
This is a classical church organ, built in 1988. While it was state of the art in its day, by today's standards its low-resolution digital samples and effects are rather simplistic. But it has a decent compliment of modestly convincing diapason, flute, string and reed stops, and two "alternate" stops that can be loaded with punch cards -- yes PUNCH cards! It also features three dynamics pedals -- great & pedal, swell, and crescendo, as well as a full 32-note AGO pedalboard.
While it has two huge speaker cabinets and produces a lot of sound (much to the chagrin of my neighborhood!) it does not have what I would call true stereo imaging -- about half the ranks are assigned to the left, the other half right, with no cross-over whatsoever.
I purchased this instrument on ebay from the original owner in 2005. (Did you know there are moving companies that move only pianos and organs?) I don't use it much on my recordings because I have far better pipe organ samples on my keyboards, but it is a superb practice instrument and serves me very well each and every week. If it weren't for this workhorse, my congregation would hear a lot more clinkers during Sunday services!
Korg Z1 digital physical modeling synthesizer
This is a so-called "modeling" synthesizer, circa 1997. Some people call it an "analog modeling synth" but that is only partially true.
The Z1 is a true synthesizer, in that it does not use samples. DSP chips are programmed with mathematical models of various synthesis methods, one being old-style analog subtractive synthesis. It is capable of many others, including physical modeling of actual instruments (plucked string, bowed string, lip reed, etc.) In fact it was one of the first to provide real-time polyphonic physical modeling synthesis.
I believe the reason the Z1 synthesizer never really caught on and never became "the next big thing" in its day is because of its complexity. Being a true synthesizer (as opposed to a sample-based workstation) one really needs to learn how to program it to get much out of it, and the manual is almost an inch thick.
Its programming is quite technical. Engineering types loved it, but its technical depth and breadth was likely too much for the typical keyboard musician in the late 90s. Sampling based keyboards were dominating the market, and Korg's flagship Trinity (and its offshoots) were much more approachable to the average musician.
The Z1 is capable of a very wide range of sounds. It also has a multi-timbrel mode and can split the keyboard, etc. giving it good master capabilities. It also features many performance-friendly controls, including a programmable arpeggiator, filter and envelope knobs and a novel X-Y touchpad.
The standard Z1 has 12-note polyphony, and is expandable to 18 with a separate card. I bought mine used in 2001 and the previous owner had ordered it with the expansion card. 18 note polyphony is greatly appreciated when using the organ and electric piano sounds, as well as in multi-timbrel mode.
The Z1 is my favorite synthesizer I own or have ever owned (even above my Moog). I would recommend it to anyone serious about sound synthesis. It makes an appearance in practically all my recordings.
Moog Sub 37 analog synthesizer
This is a synthesist's synthesizer. I have wanted a Moog for decades but could never justify the price for a monophonic instrument. But I finally I bought this as a b-day present to myself a few years back and haven't regretted it yet!
First available in 2014, the Sub 37 is part of Moog's "Phatty" line. The sounds are generated by pure analogy circuitry that is controlled digitally. This is the best of both worlds: the warm, rich sounds of analog, and the stability and control of digital.
While some of my other instruments have similar, if not more, sonic versatility, I really enjoy having access to most of the major functions through the many knobs, dials and switches on the main panel. There are many other functions too that are accessed through menus. The sequencer/arpeggiator is a real treat to work with.
The MIDI implementation is comprehensive and the combinations of customized mappings of controllers, modulation sources and destination, etc is practically endless. I find the 37-note keyboard to be sufficient for a mono instrument, especially with the octave switches that allow one to play notes below and above the default range.
The keyboard responds well to velocity and aftertouch, and when used with the mod and pitch wheel, plus effective patch programming, the Sub 37 becomes quite expressive. These features combine to make a very spontaneously creative and inspiring instrument for studio and live performance.
Because of its monophonic nature (technically it is "duo-phonic" but for all intents and purposes it is mono) I use it for solo's, arpeggios, bass lines and special effects. The software Editor/Librarian is quite good too -- easy to install and use.
As happy as I am with my Moog, it's not without warts. It's had some reliability issues and has made two visits to the factory for repair during the 8 years I've owned it. It currently suffers from random parameter changes -- I suspect due to contact issues with the knobs or dials. Most of the time it's manageable, especially in the studio, but it did let me down during a performance when one of the LFOs suddenly changed rate, ruining part of a song.
Roland D-50, LA digital synthesizer
Roland's D-50 was one of "the" synths of the late 80s. Every major act used one, from Rush to Enya and so many, many others. Roland called its method "Linear Arithmetic" -- but it basically is a hybrid: sampled attack transients are combined with of digital subtractive synthesis and augmented with on-board effects.
In the late 80s, Blake (co-founder of LVDT Simulator) lent me his brand new D-50 while he was away for some time. After I returned it, I found I had grown so accustomed to it, that I needed one of my own. I wasn't able to get my hand on one till years later, when my D-50 became my very first eBay purchase not long after eBay came online.
Sonically, the D-50 makes some very unique sounds. However, it is not as versatile and broad-ranging as a workstation or even the Korg Z1 (above). But there's nothing else quite like it. I use it a lot for rich, swelling tones, string ensembles, as well as for biting bass and breathy counterpoint. I find its character well-suited for accompaniment, and not so much for solo work. It can make some really unique bass sounds.
It appears the D-50 suffers from a keyboard malady common to older Roland keyboards. Over time, the sensors for aftertouch and velocity become worn out. Mine has very limited aftertouch, and its velocity sensitivity is not what i used to be. I've seen on the web that these can be fixed, but I have no strong need, as I can always play the D-50s sounds from one of my other boards that still has good velocity and aftertouch sensitivity.
Yamaha MOX8, 88-key, Digital Music Workstation
One word: wow. The MOX8 is an offshoot of the flagship Motif and is a very well equipped instrument in its own right. I bought my MOX8 new a few years ago and have been smiling ever since. This keyboard does practically everything and does everything well. Not only is it my master controller, but it provide the sonic foundations and solo voicing for a large part of my recent compositions.
The acoustic instrument samples are very life-like and inspiring. I particularly love the acoustic pianos, bowed strings and pipe organs. Even its recreations of old-style analog synths or 1970s electric pianos are spot on and very musical. In addition to great samples, including many drum kits, it has some synthesis capabilities as well, mostly in th e form of digital subtractive synthesis (ie filters).
In addition to having 88 weighted keys (with pretty good action I might add) it has multitimbrel capabilities, an on board sequencer and song arranger, arpeggiator, effects, etc. Many "Performance" (groupings of sounds) split the keyboard into accompaniment and solo voices, and included selectable drum sequences and fills controlled by the extensive arpeggiator library. These features turn the MOX8 into a one-man band -- by making just a few chords with the left hand and playing simple melodies with the right, you're well on your way to making music in a variety of genres.
There might even be a kitchen sink in there somewhere -- I'm still finding new features well into my third year of ownership. I would recommend The MOX8 to anyone looking for an all-purpose easy-to-use workstation.
Yamaha CLP123, digital piano
The CLP123 was state of the art in the mid 90s, when my parents gave me this fine instrument as a graduation present (from university). I've cherished it ever since. Despite its outdated technology, it still sounds and feels great today. It's a wonderful practice instrument, with very realistic weighted keys. The built-in speaker system is OK, but it sounds better over a more complete system.
The instrument features a few different piano sounds, a few different tone qualities and a few other instruments (harpsichord, organ, etc.)
It has only very basic MIDI capability. I typically use it as a stand-alone instrument, and not integrated into my MIDI setup.
Roland Integra-7, PCM and Modeling sound module
I bought one of these new after the price finally started coming down from its original release price. Similar to my Yamaha MOX8 this module makes me exclaim, "wow!" A few years later, I'm still getting to know this monster -- it contains ~6,000 sounds! Many of the pre-programmed sounds are similar but with that many sounds available, it's hard not to find something inspiring, or the close fit to what I'm looking for. I really like how everything is so well organized and how easy it is to find and edit sounds.
Roland D-110, LA digital synthesizer and sound module with drum samples
A close relative of the D-50, this late 80's rack-mounted LA synthesizer has a great drum kit, and served as my primary drums for decades. It is multitimbrel with separate, assignable outputs, and built in effects. Its sounds have that distinctive D-50 essence, but they are missing some of the pizzazz and richness found on its progenitor. Furthermore, the programming interface is very cumbersome.
Roland SE-02 sound module
In many ways this is a close cousin to my Moog Sub-37 but without keys in that it has true analog synthesis with the convenience of digital control. But is has something the Sub-37 doesn't -- three oscillators. That third oscillator really adds to the depth of the sound and provides a lot of interesting modulation options. The built-in delay is a nice feature. The knobs are very tiny and feel quite cheap, so it lacks the real-time functionality of the Moog. But sonically this is a great little unit for monophonic analog sounds and easily rivals and even surpasses the Moog in some ways.
Roland JP-08 sound module
One of Roland's' first "boutique" small-form retro modules, the JP-08 emulates the classic JP-8 or Jupiter-8 synth of the early 80s, albeit with only 4-voice polyphony instead of 8. While capable of mimicking many of its progenitor's sounds, I have found its sound a little "thin" for my liking, especially in polyphonic mode. As such, it's been largely relegated to ancillary sounds -- I rarely use it for solo work or primary accompaniment.
Alesis SR18 drum machine
Sonically, the drum sounds on this unit are excellent and the near lifelike dynamic response is a welcome addition to my setup. But I find pretty much every other aspect of this device to be, in a word, strange.
The interface is clunky and some of the functions make me scratch my head and wonder what the designers were thinking. Some settings that one might want retained are not, and many settings one need not retain are. In drum machine mode, it seems to do its own thing and will not sync up to my MIDI system. Other functions just don't work as indicated in the manual or do not work with my studio's MIDI setup.
I had read the reviews that warned of these shortcomings, but I bought it for its sounds and hoped to use some of the automated drum sequences for practice. But I find myself mostly using it as passive drum sound module, augmenting my other drum sounds. I think it was still worth the price, despite its idiosyncrasies.
I've concluded that it was designed with the amateur or semi-pro live performer in mind, and not a studio musician such as myself.
Arturia Leylab Mk.II 61 MIDI controller
This keyboard MIDI controller does everything I had hoped for in a master contoller and then some. Arutira built this unit with many different musicians in mind, and it has tremendous versitility.
It was definitely built for today's DAW-centered electronic musician, but there are plenty of user settings and customizable controls for the old-school hardware types like myself. It came witrh a suite of VST instruments, and I've found the Analog Lab, mini V (mini Moog VST clone) and Piano to be excellent.
The keybed is very responsive and control layout is fairly intuitive. I like some of the setting shortcuts. The interface is also mostly intuitive, though there are some quirks and I find myself referring to manual often.
Roland PK-5A, MIDI pedalboard
As an organist, I'm very comfortable playing notes with my feet. After wanting a pedal controller for years, I finally picked up a used PK-5A. It features one octave (from C to C) of pedals with velocity sensitivity (unlike a classical organ pedalboard).
I can tell the previous owner(s?) of my unit must have liked the F key a lot, as it seems to have lost some of its velocity sensitivity. Velocity sensitivity can be turned off if need be.
The unit can be programmed to play at several different octave ranges, can play octave notes and can be set to send data over any of the 16 channels. It also features MIDI merge, so that data from a keyboard plugged into its MIDI IN combines with its own data at MIDI OUT.
MIDI Solutions T8, 8-line THRU
Indispensible for my large MIDI setup. Simple, and works great.
MIDI Solutions Quadra Merge, 4-line merge
Also indispensible for my large MIDI setup. Simple, and works great.
MIDIman Sport 1x1, MIDI-to-USB converter
Yamaha QX-5, MIDI sequencer
My MIDI workhorse. I am a bit of a MIDI dinosaur in that I still use a hardware sequencer. What can I say? I have had this since the early 90's and am still old-school when it comes to MIDI sequencing. I have tried DAW's, MIDI software sequencers, etc. but I purposely choose to stick with the QX-5 to force me into doing more with less, as that philosophy has served me well artistically. I even have two of these units, in case one of them ever bites the dust.
Every time I use the QX-5 in a rather involved piece, I am still amazed at how well-engineered it is. The engineers built in practically every type of editing feature one needs. And while the interface is cryptic and cumbersome by today's standards, I can do a lot with it because I know it like one of my children.
Some of my favorite features: edit (and insert) every MIDI event down to the smallest detail, albeit very manually; easy load/save MIDI data to PC; a fairly robust MIDI implementation for its time; foot pedal control, MIDI echo ON (key to my entire setup).
Various PCs and laptops running MIDIOx, Overture and other software
BBE 482i Sonic Maximizer, signal processor
This gadget turns a muddy mix into a clean stereo image. I typically don't set the knobs past 11 or 12 o'clock though; too much of this effect sounds unnatural.
Behringer MDX2600 Pro compressor/limiter
Great for eliminating hiss and for getting a little more punch out of a mix. Just as with the maximizer though, a little goes a long way. I like the "soft knee" compression and the warm sound this unit produces.
Fender Pro 500, amp and speakers
Mackie ProFX12, 2 channel mixer w/ effects
Seismic Audio Tremor 18, 18-inch powered subwoofer
Shure PG81-XLR, microphones
TASCAM DP-008, 8-Track Digital recorder
Goldwave, audio editing software
I've used Goldwave for nearly 20 years for all manner of uses, at home and professionally. It is a tremendously ersitile waveform editor with great value (low cost, lifetime updates). It is my main workhorse for editing final mixes and mastering.
DAW
Korg DS-8, FM digital synthesizer
My very first true synthesizer. I purchased this new in 1987 as a second keyboard and MIDI controller. I had had some experience with the then-famous Yamaha DX series synthesizers and was pleased to find something a lot easier to program that made similar sounds.
I have had a web page dedicated to this synth for quite some time. See here.
Korg NS5R, sample-based sound module
Made in the late 90s, this little unit contains hundreds and hundreds of ROM-based sounds and effects in a small package. But despite its size, it has a good-sized readout and an easy-to-use interface. Sounds range from conventional instruments, drum kits and various synth and special effects. I had a used one as part of my studio for several years, until I replaced it with a Roland Integra-7.
In my opinion, the unit suffers from two major drawbacks:
1 - it's NOISY!!! It makes a clearly audible hiss. I have to keep its volume knob at around 11 o'clock to minimize the noise (the knob ranges from about 7 o'clock at min to 5 o'clock at max). Even when a tone is not sounding it will still add noise to the mix. The noise renders some of its quiter patches worthless as far as recording goes. I never use it by itself -- it needs other sounds to mask its noise. And when I'm laying down tracks that don't involve it, I turn its volume all the way down.
2 - it's sound collection is a mess! There's little rhyme or reason to the way the sounds are organized within banks and some banks are just plain blank. I think some of this has to do with meeting general MIDI standards and variants GS and XG at the time. But when I first started using it, I was quite perplexed. Over time, I found 40 - 50 sounds I really like on it, including a few of the drum kits, and so I've gotten to know where to find those.
Korg DW-8000
A hybrid digital/analog substractive synthesis keyboard. It makes nice smooth sounding synth string sounds.
Realistic/Moog MG-1
My first Moog, sort of. I bought it "as-is" at a grage sale and it was not in working order. I fiddled with the electronics a bit and got it sort of working, but ultimately sold it to someone looking for parts to restore another one.
Technics 1000
This was my first electronic keyboard. It was non-MIDI, and had only 4 octaves, but produced a few great synth string and pad sounds. It also had simple rythm and chord abilities and provided a good toolbox for a budding electronic musician. It was with this keyboard that Blake and I first performed as LVDT Simulator.
Yamaha QX-21
My first hardware MIDI sequencer, and little brother to the Yamaha QX-5 I still used to this day. The QX-21 only had a few channels and not much memory as I recall, but served its purpose well until I upgraded.
Akai MPK 225 MIDI controller
I used this two-octave keyboard controller for direct PC input when composing in Overture or fixing MIDI parts on my sequencer in post-production. It did a decent job and was easy to setup various MIDI control options, but I found myself having to refer to the manual more than I'd like to. Despite it's compact size, it has full-size keys (which was a requirement for me at the time) but one two octaves. AFter owning it for several years I eventually desired more keys so I sold it.
Roland JX-3P
Yamaha DX-9
Rodgers Organ