figMENTS Become Reality

Anton Fig, drummer for The Late Show with David Letterman, takes us behind the scenes of his debut album.
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Anton Fig, drummer for The Late Show with David Letterman, takes us behind the scenes of his debut album.

For 16 years, Anton Fig has held the drummer's chair in Paul Shaffer's world-class TV-studio bands — first at NBC and then at CBS where he currently anchors Shaffer's CBS Orchestra on the Late Show with David Letterman. In addition to his music duties, Fig is always ready to punctuate Letterman's comedy with a well-placed snare roll and cymbal crash, serving as “part circus drummer,” in Fig's words. By virtue of appearing on the show five nights a week, Fig is certainly one of the most visible musicians in all of show business.

During his years with Letterman, Fig has backed up musical guests such as Miles Davis, James Brown, Aretha Franklin, Al Green, Paul Simon, and Bruce Springsteen, to name just a few. The CBS Orchestra is also the official house band of the Rock 'n' Roll Hall of Fame and was chosen for The Concert for New York City at Madison Square Garden in October 2001, backing up Paul McCartney, Eric Clapton, James Taylor, and other all-star performers.

Born and raised in Cape Town, South Africa, Fig had difficulty gaining access to the American and British popular music of the 1960s that fired his imagination. In 1970, at age 18, he left South Africa for the United States, enrolling at the New England Conservatory of Music in Boston. Fig studied both jazz and classical music and in 1975 earned a bachelor's degree with honors in classical music. He moved to New York City in 1976, where he built a career as a live performer and session musician, appearing on more than 100 albums. In the past 25 years, Fig has recorded with the likes of Joan Armatrading, Booker T and the MGs, Paul Butterfield, Joe Cocker, Bob Dylan, Ace Frehley, Kiss, Mick Jagger, Cyndi Lauper, Madonna, and Warren Zevon.

In April 2002, Fig released Figments — his debut album as a solo artist and producer — on his own label, Planula Records. Fig plays drums, percussion, keyboards, rhythm guitar, and bass on the album. He also enlisted a number of guest artists, calling on the talents of Sebastian Bach, Randy Brecker, Blondie Chaplin, Donald “Duck” Dunn, Ace Frehley, Richie Havens, Adam Holzman, Ivan Neville, Brian Wilson, and a host of others. Paul Shaffer and CBS Orchestra members Alan Chez, Felicia Collins, Will Lee, and Sid McGinnis also guest. The album features 13 eclectic tracks of Fig's original music, including several songwriting collaborations.

Figments (which is available only at is the result of several years' worth of Fig's songwriting and demos as well as three and a half years' worth of recording. Although he is a veteran of commercial-studio sessions, Fig has maintained a personal studio since the late '70s and chose to record Figments in his home. Pro-audio consultant David Frangioni helped build a Digidesign Pro Tools system specifically for recording, editing, and mixing Figments in Fig's Manhattan apartment.

Fig recorded most tracks in his apartment, but he kept his neighbors happy by recording his foundational acoustic drum tracks in two commercial studios. He then wove succeeding parts on top of the drums, meticulously editing live performances in Pro Tools.

I spoke with Fig about his personal studio, the challenges of piecing together Figments, and his enviable job on the Late Show.

The Letterman gig is perhaps the greatest day job that a drummer could ever wish to have.

Oh yeah, it's incredible. It's steady, you get visibility, and you get to play with great people.

You certainly have the right background for the job.

I knew a lot of the songs that Paul [Shaffer] knew. That was a big plus. I was a studio musician with a rock sensibility. A lot of studio musicians came from a more jazzy place. I always said that I was not a studio musician; I was a rock guy who could also do sessions. I considered myself a rock drummer who studied jazz and classical music to make myself a better musician.

That approach has served you well on the Letterman show, which requires that you play a variety of musical styles convincingly.

I've always felt that what makes the styles different are the nuances: just go for the groove and take the trouble to study a few of the nuances. You may not be able to play like someone who's immersed himself in that style forever, but you'll be able to create a nice groove so that the music will still sound and feel good. The drummer is often like the shepherd who's corralling everyone into the same time space.

What is your weekly schedule like?

We work Monday to Thursday, doing two shows on Thursday. We get our schedules fairly well in advance, so within that, I try and arrange the other stuff that I want to do. The show has to take precedence, but I'm able to play in the clubs at night and do a bunch of recording as long as people are prepared to work within the confines of the Letterman schedule. I was doing the record pretty much from around 12:00 to 3:30 p.m. every day. I live a 17-minute walk from the show, so I worked right up until the last minute and just walked over to the show.

What was it like growing up in Cape Town, and how did it affect your music?

Very few touring acts came down. What we did have was African music on the radio. There were short-wave radio stations in a place called Lorenzo Marques — which is now Mozambique — that rebroadcast American stations, so we got to hear songs through garbled short-wave radio. The movie Woodstock came down, and we saw that. I went overseas one time on a trip with my parents and bought records while I was in London. I brought them back to South Africa, and then we kind of caught up, but it was relative. A person in Cape Town could become a celebrity on the basis that they saw a Led Zeppelin concert overseas. That's how isolated we were. But the good thing about that is we were forced to develop our own ways of doing and playing things, because there was so much in our imagination. We never saw anything.

My folks were very supportive. I was playing in bands from about age eight on. When I was 18, I started to get into jazz, and I wanted to hear the musicians firsthand and absorb all the musical influences over here. My folks said that I could go overseas provided that I got a degree, and so they facilitated that.

You later moved from Boston to New York to pursue your professional music career.

I got to New York [in 1976] and tried to fit in doing a few jazz gigs, but people were talking about getting back to their roots. I thought, “My roots are in Africa, but they're also in rock music.” I tried going back into rock music, and all sorts of doors opened. I suddenly got a lot of good jobs freelancing around the city. In the late '70s, I formed a band called Spider with some friends of mine who were from South Africa.

How did you get started with home recording?

[Spider's record] label was very song oriented, so it got us those original 4-track [Tascam] Portastudios and encouraged us to put down demos. The Portastudios had just come out back then. I had one in the apartment, and I would try and write songs. I found myself doing creative things on the side with synths and sounds — little abstracts — and I enjoyed being able to work late at night and do whatever I wanted to do on those things. The Portastudio evolved into an 8-track Tascam with an [Akai] MPC60 and some synthesizers. In the beginning the MPC60 kept the sequences together. When I got the new equipment, I transferred all that [MPC60] stuff over to the Akai S3000.

What inspired you to do your album?

It came from enjoying working on the Portastudio many years earlier. I don't consider myself a prolific writer, but I do enjoy putting pieces of music together and collaborating with other people. Over the years, I kept up the writing and amassed a small body of work that I always wanted to record properly.

At some point I said to myself, “If they ever offer digital recording for the home, I'm going to make a record of all these songs.” Then Pro Tools came out and it became possible to record that way. I felt as though it would change the nature of the record business because people wouldn't be dependent on a record company giving them a large sum of money to make their record. Digital recording in the home isn't cheap, but it's not that expensive compared with what the budget for making a record used to be. I'm not saying that it has to be Pro Tools — there are alternatives — but that way of recording is pretty prevalent these days.

I never approached anybody about making this record. I just told myself from day one that I was going to do it the way that I wanted it to be. So I got a bank loan — I was very lucky that I had the steady Letterman paycheck — and assembled a little system in my house. David Frangioni helped advise me about the gear and the routing of the studio [see the sidebar “Planning Planula Studios”]. We had lots of phone conversations.

The album was 70 to 80 percent written before I started producing it. I was a little concerned because the songs weren't all exactly in the same vein. I didn't want the album to sound like a hodgepodge of different things, but I figured that since I was producing and playing drums on the whole thing and starting each song from scratch and seeing it through, that somehow the album would take on a particular sound.

How do you compose songs?

I write most of the stuff on the keyboard. I usually end up at a completely different place from where I started. I'll get either a drumbeat or a loop going, or I'll just mess around with the chords and sing melodies and some words.

Basically, I had these songs in MIDI form, and then I started to add live instruments and take the MIDI stuff away. In some cases I kept the MIDI stuff, and in other cases I didn't. The recording process was the same, though.

I would record the drums first. I'd play them to the MIDI stuff, or whatever click I generated. The drums were done in a [commercial] studio. I would record them on [2-inch] analog tape, convert that to ADAT, and bring the ADATs back into my studio. I would do a couple of songs on the 2-inch tape, put that into the computer, and then use that 2-inch tape again. Toward the end, we just went straight to Pro Tools.

Where did you record the acoustic drums and the percussion tracks?

At Avatar, which is the old Power Station, and at Dangerous Music, which is like someone's living room, but they have a Neve-Studer combination.

Did you record any of the percussion tracks at home?

Yeah, I would play brushes on boxes, or play bongos and try to do funny things to the sounds and change them around. Some MIDI percussion existed from the original demo tracks.

How do you like to mic your drums?

I left that up to the engineers who were recording the drums. I didn't get into that. I just hit my drums and got a good sound. I wanted mics on the toms, and overheads, room mics, and distant room mics. I think that gives you a lot of flexibility. We recorded the drums flat onto tape.

I would either edit the drums or not, depending on how they came out. When I had the drums and the MIDI stuff, I would then get some kind of vocal on as soon as possible, whether it was the real vocal or a guide vocal. Once the drums were on, almost everything else was done at home. I recorded each musician individually, and then edited each musician's part and got it how I wanted it before I put the next person on. Basically, the next person had to play to whatever sound was created by the people that had preceded him. I had to leave gaps for what I thought might happen in the future. It's very easy to fill up all the spaces right away.

So each guest artist had to react to prerecorded tracks.

Everything was done one by one, but I was very conscious of trying to make it sound as spontaneous as possible. Sometimes you choose to leave mistakes in. I certainly didn't go around quantizing everything and making it all correct. I would leave rough edges and little things that they did — stuff that they may have played or said before the song started. I found ways to put that in the track to keep it interesting. I always had to make choices between what someone had played and where I wanted the song to go. But I always tried to get the best performance, even if it came from a few different takes.

I kept a running balance in my mind of what I thought I had and didn't have. I covered all the bases and therefore knew that I would be able to assemble it. I spent a great deal of time editing things together. I loved doing that because it felt like I was making a collage.

Did you ever use a digital audio sequencer on the project?

I started off in [Opcode's] Vision because Pro Tools had no MIDI [features]. Then I used [Emagic's] Logic in the background along with Pro Tools in the foreground, and then eventually Pro Tools added a MIDI sequencer. The album took so long to make that when I started it, Pro Tools 3.0 was the most current version of the program; by the time I had finished the album, the most current version was 5.1. Certain songs had to be reimported as we went along. The MIDI tracks were either left behind or recorded as audio files so that we could have a big audio session.

As we continued to update the Pro Tools [software], the hardware didn't change much at all. [See the sidebar “Fig's Studio Rig.”] I have a good patch bay, an ADAT, the [Digidesign] 888s, and a Yamaha 02R. I had MIDI coming through one bank of 16 channels and the audio coming through the other bank.

Weld was the engineer onFigments.Can you tell me about his role in the project?

Weld helped engineer the whole project with me [see the sidebar “Engineering Figments”]. When I had a musician here, I didn't want to be trying to get a microphone to work, so he took care of that. He had a good knowledge of the studio and took charge of the mixing. It's difficult to produce a session unless you can work your studio really well, which I couldn't do in the beginning. It's nice to just concentrate on the music without also having to worry about routing and sounds. Weld worked the board while I conducted musicians through their songs and made decisions regarding their parts. Once people were done recording, Weld would refine the sounds and then I would edit the parts.

How do you use the space in your apartment for recording? Your control room is remarkably small.

It's 9 feet by 10 feet. Next to that room is my living room. We had no master plan; we just improvised as we went along. I've got one hallway, and we tried putting the guitar amp there. We used the bedroom because it seemed to sound good and people could look out the window and have a nice view at night of all the lights. If I was running a session by myself, it was easier to use the living room because I could just put my head around the corner; I didn't have to run from room to room.

I understand that you own only one microphone and that you rented microphones in certain instances.

We used my Neumann [TLM 193] for just about everything. I like to say that I made the record with three reels of 2-inch tape and one microphone. Well, that's not strictly true.

Why did you rent microphones?

Weld suggested that I get a particular microphone for Richie Havens's voice [an AKG C12 tube condenser mic], so we ordered one. We rented mics and maybe a certain guitar, or whatever.

How were you able to work around noise limitations?

We recorded in the daytime and edited and mixed at night. I could get enough of a sound by doing it in a limited way. I didn't have to have a big room and Marshall amps — which undoubtedly would have sounded great, but I didn't need that for what I was doing.

Did you face issues with the acoustics of your apartment?

I thought I was going to have some. In the chorus of “When the Good Die Young,” for example, I had this bass drum. I played the mix in a car, and the bass drum was so loud I thought I was going to blow the windows out. Yet when I had played it in my studio, I hadn't heard it in the room at all. I thought, “This is never going to work.” But we got used to the room. I made the surface a little more uneven. I could always take a mix out into my living room and listen to it there. We'd refer to other CDs. Weld was pretty vigilant about keeping the sound contained. My biggest fear was getting uncontrollable bass [frequencies], but we were able to avoid that. We were very careful to find what we thought was the sweet spot in the room and stay there.

I'd run off a cassette of what I was working on and listen on headphones on a cassette machine while walking to and from the [Letterman] show every day. I made a lot of mix suggestions just from walking around with my cassette machine. That may not have been the truest way to do it, but it seemed to work.

I took my mixes [early on] to Leon Zervos at Masterdisk, who mastered the record. I said, “Tell me if I'll actually be able to mix in my studio.” He put them through the mastering equipment and said, “This sounds fine. I'll definitely be able to master this.” That gave us the last bit of confidence we needed.

Are there any other instances in which you traveled to other studios?

On “Hand on My Shoulder,” Brian Wilson did the background vocals. I flew to California and we did the vocals at Mark Linett's studio, where they remixed [the Beach Boys'] Pet Sounds. We did it on Pro Tools. I also recorded Chris Botti [for the track “Tears”] in California. I went to his home studio, where he had a Tascam system. With Sebastian Bach, we went into Dubway Studios because his vocals were really screaming. “January/February/March” has a group of people singing, and that was also at Dubway. Randy Brecker recorded his [flugelhorn] solo [for “Inside Out”] that same night. With Paul Shaffer, Al Kooper, and Ivan Neville, we went into Avatar. There were times when I needed access to their microphones. Everything else was done at home.

Even the choir on “When the Good Die Young?”

Yeah, that was done in my living room.

The snare drums in “When the Good Die Young” remind me a lot of Scottish drums.

I had an orchestral snare drum. I played it in the bathroom to get a little echo, and then I doubled it. I didn't try to make it perfect because it sounded like a few different people playing, but not quite the same. That was totally intentional.

Which of the other tracks stand out in your mind?

“Utopia” is a very simple song, but it took quite a bit of work. The drumbeat in the chorus is actually a slowed-down two-bar sample of the fade of “When the Good Die Young.” A drum machine was in the original song, and then I played real drums in the verse. I tried to play real drums on the whole song, but it just didn't feel right. So then we had to mix the sample and the real drums, and bring it in and out. Then there's another drum part that's just a sample of real drums — bass drum and snare. There are actually four drum kits in that song, but it obviously doesn't sound like that. We had 12 tracks of drums per kit, so it was a very unwieldy session until we managed to pare it down.

The ending of “Home” didn't exist. The song ended at least a minute and a half before it actually does on the record. That whole ending was re-created once everyone had gone home. I probably played the drums all the way to the end, but the vocals and guitars were done; I just went in and made a whole new ending.

What future plans do you have for your studio?

At the moment, I'm leaving it the way it is. I'm building up another set of song ideas. Right now, I'm just trying to get my record out there. The record is available only on the Web site []. It isn't in the stores. Because it's such a homegrown project, I almost don't mind that some corporation hasn't gotten hold of it. I'm not saying that wouldn't happen, but for the most part, it's coming directly out of my house to anybody who wants to listen to it.

How do you feel about taking on the role of a producer?

A lot of the producing involved my getting the right person for the right part. You hire them for what they can do, and then you make up something from what they've given you; but I'm really quite comfortable being in that position. If I were to produce someone else, it would be just as big a responsibility but a different kind of mind-set. That's something that I would be interested in doing, if I found the right person.

This was my first big production. As a drummer, you get used to going into the studio and playing the basic tracks, and then leaving. In creating the whole thing myself, I had to follow everything through. If I didn't work on it, nothing happened. When the project's over three years long, you have to stick with it. You have to be prepared to slug away all the time to get the thing completed. It was an incredibly rewarding experience.

Matt Gallagheris a drummer and an assistant editor atEMand Onstage.


Anton Fig hired Weld, a New York City musician and freelance engineer, to engineer Figments and to help manage Fig's studio. Weld says his role in the Figments project “was basically to help the whole process run smoother. The studio that Anton built presented a big learning curve for both of us. We started with the 16-voice Pro Tools system and one [DSP] Farm card — not the original system, but one of the early ones — and a 4-gig drive. From there, we kept updating and expanding to the current Mix Core system with three Mix Farm cards.” According to Weld, his assistance allowed Fig to “focus more on the music and the production. I would deal with the day-to-day issues.”

Weld prepared 8-track submixes on ADAT tapes to send to musicians in remote studios. “When we received the tape back, I would be responsible for getting the performance back into the computer onto the hard drive and keeping everything in sync,” he says. “When a musician would come by to record, my job was to set up the headphone mix and the mics, and to get the performance to binary as transparently as possible.” He also helped Fig adapt to his difficult monitoring environment. “You have to bring in reference material, listen to it, and see just how different the room is from larger studios. Once you get used to how it sounds, it works well. After a while, you intuitively know what frequencies to listen for.”

At the core of Fig's studio is a “beefed up” Power Mac 9500. “I think it had a 132 MHz processor, but we upgraded it to a 300 MHz G3 processor,” Weld says. “We added an ATI video card and the Adaptec 2940 Ultra SCSI accelerator card. A lot of this technology is now a bit dated. We used [Dantz Development] Retrospect Backup, an archiving program for backing up data to DDS-3 DAT backup tape. We have three or four Glyph [storage] drives and the Yamaha CD burner. The Yamaha 02R was used as an analog input for the outboard synths and for dialing in a little compression or EQ for a Pro Tools submix.” He adds that “the [Mark of the Unicorn] MTP-AV is the master clock for the whole studio.”

Because Figments sessions regularly took place outside of Fig's studio, transferring audio files was critical. “When we were doing submixes to ADAT, we would use MIDI Machine Control with Pro Tools as the transport control,” Weld says. “The MTP-AV remained the time base. The great thing about the 02R is that its digital inputs are assignable. The 02R has the AES/EBU interfaces and the ADAT optical interface, so all the data could be routed digitally from Pro Tools to the ADAT or vice versa. On a couple of songs, we easily adapted this method to the [Tascam] DA-88 DAT machine, as well. This allowed the other studios to use as many slave tapes as they desired. As long as our tape was the positional reference for them, any additional tapes would come back locked with our session.

“We tried to take advantage of the big studios,” he continues, “so we recorded 12 tracks of drums and did three or four takes of each song. When we got the files back into Pro Tools, we were looking at 46 to 48 tracks of drums. We would group tracks for each take and then create another set of empty tracks that would become the edited drums. Anton would decide what he liked and paste them into the new composite tracks. When he finished editing drums, any unused files were cleared and the remaining files were truncated using Pro Tools' Compact function — after we made safeties of all the initial takes.”

When bringing your Pro Tools files to another studio for recording or overdubs, Weld advises that you first find out whether your system is compatible with theirs. “We always call ahead to find out the version number of the system that they're using at the studio, just to make sure that there are no compatibility issues,” he says. “You don't want to show up at the studio and find out that your session won't open all because they have an older version than you do.”

Weld confirms that he and Fig processed most tracks within Pro Tools, including vocals, which they recorded flat through a Focusrite Voicebox. “That's when we had our fun,” he says, adding that they used Waves, Bomb Factory, Line 6, and native Pro Tools plug-ins. “We didn't use much EQ going into Pro Tools. I remember once we added a little bit of top end on the vocals, but that was just 2 or 3 decibels.”

As he mixed individual tracks, Weld would focus on the song at hand rather than worrying about how one track sounded against another, even if the tracks had a time-span difference of more than three years. “We didn't zero the board and mix from scratch when the recording was complete,” he says. “It's Anton's album, so his spirit is going to be there. It's a part of who you are, and that comes across in the music and provides the essential thread. The mastering engineer, Leon Zervos, also did a great job of uniting the sounds of all the songs. I just try to do what I think is right for the song at the time and help Anton get his feeling across. With a current song, I wouldn't go back and listen to a mix that was done a year ago and make sure that the hi-hat was at the same level relative to the vocal or snare. It wasn't that technical, and I like to keep evolving as an engineer.”


When Anton Fig decided to record his solo album, he turned to David Frangioni for guidance on redesigning and upgrading his existing personal studio so that it could handle that task. Frangioni is the founder and president of Audio One (, a consulting firm with offices in Miami, Boston, and Nashville, that designs personal and commercial recording studios, home-theater systems, and home-automation systems. Audio One's clientele includes Ricky Martin, Olivia Newton-John, Ringo Starr, and Steven Tyler, and the firm offers its services to anyone who is interested.

“I've been consulting on recording studios, primarily at the high end, since 1985,” Frangioni says. “Anton called and we really hit it off. For more than a year, we talked about and conceived Anton's studio. Anton is an avid reader. He researches things very thoroughly and asks questions. To his credit, he had a clear vision from day one about wanting to use his studio to do his record. He already had a home studio, something that he had put together. I listened to what he had done there, and it was amazing. Anton will take what he has and go as far as he possibly can with it.”

According to Frangioni, Fig contacted him because he “wasn't sure about what the final technology choices would be and how it would all be integrated; that was up to me. We originally designed that studio before the advent of Pro Tools. During the course of the record, Pro Tools and other technologies were evolving; Pro Tools became a standard in the middle of the record. Nowadays people keep everything in Pro Tools; they don't even transfer to tape.”

Fig's studio room presented a particular challenge. “We designed it around a room that holds the record as the smallest recording studio I have ever put together — acoustics were virtually impossible to deal with,” Frangioni says. “The ceilings are fairly high, but it's a practically square room. I brought in an acoustician to try to do something with the room, but there wasn't a whole lot he could do. We just figured we'd make it primarily a near-field-monitoring environment and hope that the room wouldn't introduce problems.

“In a room that has constraints acoustically, you have to do a lot of listening,” Frangioni continues. “You have to make CDs and cassettes, leave the environment, and see how it translates. When you play a reference CD in a new room, you have to go with your first impression and you can't convince yourself it's something that it's not. If you hear it sounding awkward in certain frequencies, you have to address that. So there's more work to be done than there would be if you have the budget and the space to build a studio from scratch where you can address the physical side of the studio, which most of us can't. We're dealing with home environments.”

In personal studios, Frangioni says, people “sometimes use headphones for certain aspects of the monitoring and should be very careful about their near-field monitors. Hopefully, they'll be open minded about doing some acoustic trapping and diffusion if space allows. If a room sounds natural, you can work in it and get things sounding pretty close.”

Frangioni also states that the degree to which you treat your studio room acoustically should depend on your end goals for your studio. “Mixing only becomes critical with a final big-budget record where there's a standard,” he says. “Every record has a certain sound quality, and if you're too far away from that, you're not going to be able to compete. Most people are not mixing for a final record release, and if they are, then they have to go through that extra work that we talked about. Anton did; he really worked his studio.”


Anton Fig's current personal studio took shape during the tracking of Figments from the late 1990s into 2001. Fig retained certain favored devices from earlier incarnations of his studio while acquiring Pro Tools hardware and software and newer sound modules specifically for the album. Following is a list of his current setup. More information is available on Fig's Web site at

Apple Power Mac 9500 with G3/300 MHz upgrade

Digital Audio Workstation
Digidesign Pro Tools TDM 5.1 with 888-24 I/O audio interfaces (2)

Effects Processors
Anthony DeMaria Labs (ADL) Stereo Tube C/L 1500 stereo compressor
Focusrite Green 3 Voicebox mic preamp/equalizer/dynamics processor
Tech 21 SansAmp PSA-1 analog tube-amplifier emulator
Yamaha GEP50 guitar-effects processor
Yamaha SPX90 digital multi-effects processor

Neumann TLM 193 large-diaphragm condenser mic

MIDI Interfaces
MOTU MIDI Timepiece AV MIDI interface
Opcode Studio 4 MIDI interface

Yamaha 02R digital mixer

KRK V6 active near-field monitors

Alesis XT20 ADAT
Panasonic SV-3800 DAT recorder
Tascam 112 mkII Portastudio 8-track cassette recorder

Samplers, Sound Modules, and Synthesizers
Akai S3000 sampler
Alesis DM Pro drum module
E-mu E4X sampler
E-mu Proteus 2000 sound module
Korg M1 synthesizer
Oberheim Matrix-1000 rackmount analog synthesizer
Roland D-550 sound module
Roland JV-1080 synth module
Yamaha CS1x synthesizer