Random Gear Meanderings 

I used to have a much bigger studio system, with piles of outboard dynamics and EQ, banks of patchbays, a big analog mixer, and more synths. In June of 2003, I reconfigured the studio to use the computer as the main mixing and patching environment, replacing my much-beloved Mackie 3208. I also cut out a whole bunch of other stuff, along with about half of the cabling.

The philosopy was to concentrate on fewer but higher-quality pieces of gear, in an entirely automated system, so that I could focus on music instead of troubleshooting and maintenance. So far, it does seem to be a remarkably pleasant and stable setup. I must admit, though, that now and again I feel a little pianist-envy when I look at studios with walls full of synths and racks of esoteric music-making and signal-processing devices.

I just need to keep reminding myself that gear lust is based on an illusion, confusing the tools of creation with the creation itself. “If I only had that one new cool toy, then I’d really be able to make great music…”

In 1999, after a similar re-working of the studio, I wrote: “I have recently taken the mildly futuristic step of going fully non-linear for recording, divesting myself of all tape-based multitracks. The next century is coming, and I can taste it.” Isn’t the past quaint?