CAPTAIN CONTAGIOUS
Jun 1, 2006 12:00 PM, By Kylee Swenson
KIT AT THE HIT FACTORY
Computer, DAW, recording hardware, console
Apogee AD-8000 converter: “It works with the neutrality formula I have,” Wayne says. “I also use it to clock on any Pro Tools system. I plugged the clock in, and it changed my life. It sounds so thick and rich.”
Apple Mac G5 computer
Digidesign 192 I/O (3), 888 I/O (2) interfaces, Pro Tools software
Furman PL-Plus power conditioner SSL 9000J console
Samplers, drum machines
Akai MPC2000XL, MPC3000: “My main drum programming comes from the MPC3000 and 2000 side by side,” Storch says. “I think the 3000 is the best sounding. But the MPC2000 is the most user-friendly. You can change the instrument that corresponds with [the MIDI channel] without having to stop the record. That's important for me while I'm creating.”
Software, plug-ins
Arturia Minimoog V software synth
BitHeadz Unity software sampler/synth
Digidesign Long Delay plug-in
GForce Oddity software synth
Line 6 Echo Farm plug-in
Plogue Bidule modular-audio software: “Plogue is a workspace where you can take virtual instruments, combine them and control them with a MIDI source,” Wayne says. “It's a platform for VST plug-in instruments and Audio Units plug-ins, and it does a whole lot more.”
Steinberg WaveLab reverb plug-in
TC|Works TC|Chorus plug-in
Universal Audio Teletronix LA-2A plug-in
Synths, modules
E-mu Vintage Pro sound module
Novation SuperNova synth
Roland XV-5080 sound module (2)
Soundart Chameleon audio DSP engine
Studio Electronics SE-1 sound module
Yamaha Motif synth
Mic, mic preamp/compressor/EQ
Avalon Vt-737sp preamp/compressor/EQ
Sony C800G mic
Headphones, monitors
Genelec 1031A monitors
Sony MDR700 headphones
WHEN YOU CAN'T FUND IT, FUDGE IT
When Wayne's Avalon pre and Sony mic were stolen from P. Diddy's studio a while back, he used a Neumann U 87 with a $200 Behringer preamp. To get more power from the more economical mic pre, Wayne found a way to get a stronger signal. “I couldn't get enough power,” he says. “I like vocals nice, rich and thick, and that requires a nice, warm signal. So I came up with a way that I would run out of the preamp into a Pro Tools input in an aux channel, and run that into an analog channel plug-in and bus that back to the track I was recording on. I would boost my signal that way. And I had the setting saved. If you don't save your settings, you can't advance. You gotta save them, memorize what they do for all different types of sound, and when you get that method down, move on to the next.”
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