A retrofuturistic collision of synth and chip
The Amplitude Problem studio is completely modern with the fastest hardware and most recent software. Critical hardware is redundant so that I can still meet deadlines in the very rare event a component fails.
For my digital audio workstation, I use Propellerhead Reason plus a wide range of Rack Extensions from all categories so I can get the exact sound I want.
When I need that authentic analog hardware vibe, I use the gold standard, a Moog. Specifically, this Sub 37. I also use some other hardware instruments like the Yamaha Reface DX.
ADAM A7X reference studio monitors. These puppies have carbon fiber woofers and ribbon tweeters with a frequency response from 42 Hz to 50 kHz. I keep them floating on IsoAcoustic isolator stands which ensures I hear only what comes out of the speakers with no interference.
AKG K712 PRO reference studio headphones. They have a frequency response from 10 Hz to 39.8 kHz.
RME Babyface audio interface. This is an extremely low-jitter studio-grade audio interface with a sample rate of up to 192 kHz. It allows me to record guitars and other instruments in real-time with virtually no latency. It also sports incredible digital-to-analog converters, making sure a correct and beautiful signal makes it to my studio monitors and headphones via double-balanced Canare Star Quad cables.
To ensure that my mixes sound great everywhere, I test them on a variety of sound systems, including headphones, gaming headsets, earphones, earbuds, portable speakers, laptop speakers, car stereos and other high- and low-end devices.
TASCAM DR-40 pro field recorder. This very capable stereo recorder gets called upon when I record audio for sound effects. It can record at 96 kHz in 24 bits.
Roland A-800PRO MIDI controller.
And most importantly, a SID 6581 chip on the wall.