Finally as promised, here is the all new Legowelt gear and studio page.
A lot of equipment has changed, some interesting new stuff has arrived and some stuff has been sold or borrowed out.


The studio is where its at'..the place where the music is made.A sanctuary, a gearfreak's fatherland or whatever. A dangerous place also...You might spend days here forgetting there is a world outside. The machines are no machines anymore: you treat them with respect, they have personalities...some of them love, others don't give a fuck...but they are alive...and might even be considered close family.

Its difficult to describe to a stranger what it is like to be a 'gearfreak' (i.e. having a keen interest in electronic music instruments, especially old analog ones). Bob Moog ( a famous inventor of synthesizers) once said: "its halfway between being a musician and hot-rodding your car" and thats pretty much right...its nerdy but macho at the same time, and for fellow gearfreaks there is nothing quite like the exhiliration of the 'gearlist'...where the people tell what gear they use and have.

That is the point of this part of the Legowelt site, to see what gear is used in the Legowelt studio. For a non-gearfreak this might be complete nonsense, but for those who dig it is (with the additional pictures!)..and also remember there is some fancy shit here, but also lot of tracks are actually made ghetto style in the living room or on the road on cheap ass equipment such as Amiga computers, boss drummachines and borrowed portable grooveboxes, just to be mixed in this studio on the mixing desk...and fuck yeah sometimes that don't even happen.


Akai MPC60

This is a very nice sampler/drummachine/sequencer combo designed by Roger Linn in the eighties. It samples in 12 bit (the same sampler as in the S900) and therefore the sound kicks ass over most modern samplers. The sounds are raw and just place themselves in the mix pretty easily, perfect for pumping drumsounds. As a forefather of the more common contemporary MPC2000 it doesn't have much memory compared to its descendents, but its interface / operating system is more luxerious, and feels a lot more professional. Don't forget the ultra cool leather arm rest on the low side...


COMMODORE AMIGA 1200 aka Dominatrix 1200

An old computer often mistaken by lamers for something like a C64 in the "80ies oh its so cool PONG vintage computers" hype. Ofcourse the better informed among us know this a fast 32bit multitasking workstation which design in many ways is still superior to the usual PC's and Mac's. It also got powefull sampling chip build in, the same you can find in the classic Ensoniq Mirage sampler. This combined with the OCTAMED sequencer software makes it a very powerfull Sampling/drummachine/sequencing combo thingy, just like the MPC60 and SP1200...with the advantage that you can do everything on a big screen here. Records like Gladio - Slave of Rome, All Polarius ones, Reports from the Backseat Pimp and a lot more are 100% this machine....and its used in almost 90% of other material as sequencer or for aditionalsounds from its sampler.



I traded this bunch for my Andromeda A6 and Jupiter 6. I had bought my Andromeda but I just couldn't feel this machine, it sounded beautifull (though allthose trance presets were horrible) but the interface sucked big time and its looks were something out of a bad candy rave rosswell alien trip, so it just didn't work and I traded it for a G2X which I like a lot more. Actually I liked it so much that running low on voices I traded my Jupiter 6 for the G2 Engine (the rack version) two weeks later. About the G2X, this is the latest version of the famous Clavia modular series...a genius idea were you have a complete modular synth with hundreds of modules but all that happens on a computer screen without the mess and fatigue of a real modular. The sound is amazing, despite what people say about the Clavia can have weird exotic fantasy synths like a mix up of a Korg PS3100 and a Memory Moog or a DX7 with a Moog filter and all that at the same time with 6 other fantasy synths running smoothly...just for example.



Roland Jupiter 8 (the big thing in the middle), above Korg MS20, SQ10 analog sequencer and an MS10.

Rolands big vintage flagship synthesizer. The sound is dreamy you might think it has got effects build in (but it doesn't). I think this is the most 'esoteric' in the Jupiter series (The Jupiter 4 is just plain rawness...a beast, the 6 is more clean plasticy and aggresive in the mid range). You just hold your arm on the keyboard and it sounds like Kitaro (I am not sure if this is a good thing). Its pretty straightforward in the synthesis architecture, the usual more advanced 2 oscie substractive synth, but the sound, created by very well designed Japanese circuits, and slider controls make this a very sought after expensive synthesizer. Check out my sound demos for this machine at



This is the cheapest Jupiter on the market, and often discriminated as being an "organ preset synth" by people who don't know shit. But actually this is the BEST jupiter...(Not in my IS...). Why? First of all it looks cool...and it sais "Compuphonic" in a big 70ies retro computer font on the top. Next...the sound..I have seldomly heard such LUSH drifting analog fuzzness...its FAT juicy and all that. It sits next to the Moog Minimoog in the analog realm...and it does this with only 1 oscillator per voice! 1 measly oscillator (and a sub oscillator, very comparable to the Juno layout)...a discrete oscillator with transistors, no SSMs or CEMs but thrustworthy discrete circuits that fly all over the place when it comes to drifting electricity. Add some crazy modulation possibles with a superslow or fast LFO and Ringmodulator like effects, a buttery thick VCF, a superb arpeggiator, patch memory (hey we are talking 1978 here) and VCA EG that can be overdriven at the slightest touch (there is even a LED for this!!!)...and all this results in a beautifull synthesizer with an imense characteristic pallette. You can check out the sound on some tracks on the Smackos - The Age of Candy Candy this one.


ROLAND JUNO 106 aka Workpony

A simple but lush feminine sounding synthesizer...Very easy to program, beacause of its sliders, and also because there isn't that much to program. From simple staccato basses or synthetic chords...its truly the minimum for the maximum! Probably the most used synthesiser in the studio because somehow it always sounds good. I wish I had a Juno 60 or 6 instead of the 106 though cause that one has an arpeggiator, wooden sides and presumably also sounds a bit better....but somehow I never manage to catch one...until recently...


Yes, so finally I got one. Its big and macho, if the 106 emits a female feel, the 60 is definitily more masculine. The J60's building material is superior to the 106; wooden sides and case, big hard plastic early 80ies buttons and the creamy sliders (the same as on the Jupiter 4/8) playing on this machine feels a lot more satisfying. The sound is a bit broader it seems (especially some low end bass sounds tend to be more beefier) yeah the arpeggiator is superb and makes it even more playable. The lack of MIDI and portamento (present on the 106) don't really do much damage to this wonderfull charming machine.

Juno60 Dark Bass Dark bassey stringsound

Juno60 PWM arpeggio Pulse width arpeggio

Juno60 Jam1 Arpeggio, retarded chords and a dark bass...they all come from the Juno 60.

Juno60 Jam2 arpeggio bass, bleepsounds and a dreamy stringpad...again 100% Juno 60.

More information on the Juno 60.



A piece de resistance in the studio, and I am happy to own cause it was always a far fetched dream back in the days... At first glance this may be the simplest synth ever...there aren't that many knobs and compared with most other synths its specs are pretty basic. But its simple and minimal layout soon dawns as one of its powers...with a minimum of controls yet unseen with any other synth this vintage music instrument is capable of sounds that are so beautifull you'll cry. Intuive is the word...its an instrument that invites you to play and create sounds. You can say what you want, I used to believe that it was just bollocks and any pretty decent analog synth could sound like it....but there is nothing like the sound of the minimoog. Organic analog-thick and fat, raunchy and deep as you can get. Once you had this a creepy feel might come to you that all other synths are inferior toys. Well not quite but maybe somewhere in the deepest alleys of your soul.


BOSS DR110 aka Binky Boy

Another super cute little analog drummachine...soundwise not far from the TR606 but with a different more finer nuance... This one has a MIDI modification which works with a weird MIDI-to-minijack cable which you plug into the Trigger output.

Here are some wav.samples from the boss DR110: basedrum - snaredrum - handclap - closedhat - openhat - cymbal

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ARP AVATAR aka Silver Shamrock

This was the very product that sank ARP, a failure at what it was intended....being a guitar synth. If you leave the guitar synth part behind the ARP Avatar is still an extremely powerfull analog synth module. Why? Well, cause its synthesis build up and sound is an exact copy of the famous Arp Odessey.Being a raw and quite a technical machine its perfect for dark droning effect sounds...if you know those slewing effects sounds from John Carpenter's Halloween 3...the ones that go Skrrruuuuuiiiiiiiiiieeeee....then you might get a hint of this cool machines sound.

Listen to these MP3 snippets (actually this is my old Arp Odyssey, but they are identical in the synthesizer part)

Oddy1 * Oddy2 * Oddy3


RHODES (ARP) CHROMA aka Antrophophagus

The rhodes Chroma (The big synth) with a Roland Space Echo, TR808 an don top of the Space Echo a SCI Drumtracks.

No this is not an electric piano...but it is still like having a real piano or something; Wooden keys, copper foot pedals and a large cabinet. A 16 voice full on polyphonic (and multitrimbal!) analog ARP. Yes its an ARP, even if it sais Rhodes on the back. When ARP was going down the drain (due to its Avatar fiasco) this was the last thing they designed...on paper it would be a polyphonic ARP 2600 with a complete digital interface like we would see so many times later on in the eighties. ARP went bust and Rhodes bought the remains...the Chroma. They didn't change much it seems, the word "CHROMA" on the front is in the typical ARP font and colour (orange) looks like they just removed the white ARP word before it and stuck an embossed Rhodes logo on the back. So all this Rhodes crap is a bit painfull for an ARP lover like me, and I prefer to call this synth an ARP CHROMA... Lets check out the sound...and bring a napkin cause its really sounds like a polyphonic ARP 2600...The most scary haunting sound in an instant. So how does it work? Its actually quiet exotic...we have the usual substractive analog design but we can patch it a bit ''modular'' style with algorhythms. With these algorhythms you can route various the filter that modulates the Oscillators, or the Oscillators that modulate itself and all that shit...maybe its best compared to the algorhythms from the Yamaha DX7 but without the FM synthesis (well only a rudimentary version of it). So where is the catch in all this wonderfull synthesizer heaven!? Well that is the interface, as I said before, its a digital interface with tip touch buttons and one slider, again very similar to the Yamaha DX7...the buttons indicate the thing they can edit, but not the choice that can be you need to have the manual with you whenever you program the thing to look op the choices. Its not as bad as it sounds and if you use it a lot you will eventually remember the choices...but wouldn't it be cool if it had ARP 2600 style sliders?

Listen to the might of the Chroma while I switch through the can hear the closeness to an Arp 2600 in the freaked out effects sounds. For more information about this obscure piece of synthesizer history check out



No comment...except that its pretty beaten up over the years.



Its digital and kicks ass, if you know mr.Fingers'Amnesia album, its full with this machine. Old school chicago snappyness, prince style claps and smudged lo-fi sampled floats somewhere between a Linndrum and a Roland TR707.



I find this the cutest in the Roland X0X series, its got a beautifull smudgy raw sound (those hats and cymbals!) she (I think its a female machine) is giving everything possible...exhausted but still trying...out of breath but she just keeps on going....but she will never reach it...and thats what makes the TR606 so cool.

Some TR606 samples, specially sauced with some raw FX: Basedrum Snaredrum Tom Closedhat Openhat



Late night romantic Poly 800 rendezvouz

Its in the closet tucked away but just now and then this ridicolous cheapo synthesizer is allowed to get out and taken on the road for a live gig or two. This analog synthi can make incredible 'wet' bubbly sounds that sound very italian organ, maybe even an accordeon or something...I just don't know how to describe it. Its sound is very destinctive...plasticly. The cool chord memory and joystick to control the pitch, modulation and filter are a huge part of its charm I think. It was used on certain tracks of the Beyond the Congo EP, and though I am not quiet sure anymore probably on Tower of the Gipsies too.

Listen to some sounds from the Poly 800, ahw sucks I accidently saved it in a really low MP3 rate but you can still hear it...ghetto style!!!



The Pro One in the kitchen

Regarded as being one of the great American classic monosynths in the shadow of the Minimoog. Its pretty much a monophonic Prophet 5. A warm and schnitty sound, a character like a Texas Ranger.

Some sounds from this machine.



Everyone always wanted a DX100, the totally hyped 4op synth...maybe because it is small or something but for a cheaper price you can get the DX21 which does the same sounds (you can load in the DX100 sounds) but goes a littlebit further because you can layer 2 sounds and there is an extra envelope generator for pitch and a super compact creamy chorus effect to give a beefier sound. Just like the DX7 and DX7IID they are sort of in retirement now because of lack of space and the fact that the G2 can do FM synthesis quite well. The DX21 is an underrated synth, most people laugh at the sound but they are probably too stupid to program it. It inspires and can create sounds yet unheard...yes there is more then the FM solid bass and house organ.

Listen to some mp3's of the exotic pallette of DX21 sounds:

DX21 8 operator lead - 2 sounds are layered to create an interesting lead sound

DX21 Alec - Again 2 sounds layered for mysterious soundtrack atmospheres

DX21 Church - You might recognize these churchbells from the Stalingrad track intro

DX21 Space Xylo - Some kind of space xylophone stuff

DX21 Varia - DX21 varia

DX21 PWM - Analog style Pulse width modulation




Mixing desks: Tascam M3700 + D&R 1000 series

Dynaudio BM5 Monitors

Dynacord DRS 78 Digital Reverberation System

Roland ER201 Space Echo

Vermona Retroverb

D&R Compressor/Limiter (2x)

T.C. Electronic M100

Evans Echopet Analog Delay


Back in the days...stuff that has been sold or broke down.


At first I was a bit sceptical about this synth, but as time went on I learned to love it. Its truly an exotic synth...It's got 4 independed oscillators that can either be set polyphonic or monophonic. You can stack 4 different oscillators on eachother and go mayhem with an extremely powerfull arpeggiator and chord memory. Add to that some unusual sync options and you got a pretty decent synth. The only other synth that can do this -kind of- is the Vermona Perfourmer. Korg intended it as being a 'lead synthesizer' but I don't think leads are its power, its slow eerie monophonic chord strings and nice arpeggios are. The Klaus Weltman - Cultus Island soundtrack was made almost entirely with this machine alone (apart from some bell soundeffects and one track with a Korg Poly 800 string). I squeezed everything possible for me out of this machine and the result was a broad palette of dark sounds that fitted perfectly together. When this album was finished I sold it, cause I dried it out. In a few years time I am sure I want one again...but then the price has probably quadroupeled! Listen to Klaus Weltman, pure 100% Korg Mono/Poly multitracked....


The quest for more exotic and organic deep analog sounds resulted in the custom build Nautilus Modular system, hand crafted from broken down old guitar pedals and crazy circuit designs by dr.Kassen and Legowelt, heavily inspired by the EMS synthi. The accent is on Inspired by it, it is in no means a clone or anything and uses completely different techniques to generate the sound inside. Much more a synth for freaked out psychedelic effect sounds then one for melodies or baselines. The sound is weird and unpredictable, just say BBC radiophonic 50ies and 60ies Sci-fi movie effects...indeed very dr.Who...and that is not a bad thing at all! The sounds can be altered using a system of pins in a patch matrix (just like the EMS synthi). Audio can be routed using the standard jack cables on the front. This machine also proves itself as a good and fun way to alter external signals. Well that was almost two years ago and in the meantime this machine has been put in the closet because it just broke down every hour and we couldn't be bothered repearing it all the time. It would require a permanent technical staff to keep it going and well...frankly...thats not really worth it ;). As a 'memory' I programmed a Clavia Modular G2 patch that kind of emulates (with the nuance on kind off).


Most pictures taken by Corine (exept nautilus and Korg Mono/Poly). All pictures are copyrighted for this site, please ask before using.