TIM GANE: I'm Tim Gane from Stereolab, and I originally am from London.

I always use the same. It’s Logic. I always use Logic. I’ve used Logic since whatever it was, 1998 I think. We’ve seen it in Chicago at first, so Logic -- well, we used Pro Tools then but we used -- In the studio we used the Pro Tools hardware but Logic software. That’s what I always use that’s why I’ve used -- I’ve never used anything else.

Well, I mean Pro Tools I’ve never used -- I’ve never got to use the software part of it. I mean when we recorded in Chicago with St. John McIntyre or he used Pro Tools all the way through, but for me I don't know. I don’t like to -- When I’m concentrating on the music, I don’t want to be thinking of the kind of technology or something like that.

The Mustang that I use on the stage now is my favorite guitar because it’s really easy to play, because sometimes I kind of stretch chords and it’s a very thin neck and it’s kind of light body. It’s not too heavy, and so that’s my favorite. And also I like the sound. I like Fenders. I don’t -- I like Fenders and Gretsches but I like Fender overall.

Why any Fender? I like it because I like that fact that when you strum it you can, if you want, hear all six strings separately, and this is the kind of -- My favorite sound is the kind of like surfing sound or a very clean chord because infusing like four- or five-note chords, you can’t have a fuzzy Gibson. I mean you can I suppose, but I mean it just begins to sound like prog rock, you know.

Fender, Fender Twin, Fender Pro Reverb, Fender Bassman. I only use Fenders.

Well, the ones I use now is the Big Muff because Electro-Harmonix. The old MXR Fuzz distortion, which is like kind of gray-brown color. That’s my favorite sort of, the two distortions together, and I have an MX Tube Screamer, whoever makes that. Is it Ibanez? And I have a homemade pedal made by our friend of Simon, our bass player, which is a kind of auto wah that has no known name, but that is the best, that and all of them and I have a Leslie simulator made in New Zealand. I think I can’t remember the name it. DLR I think they’re called, because I had one of those once, the Hughes & Kettner ones, but someone went over the lead and it blew the whole thing, but they, but they really we have very good Leslie simulator though, the one I use.

Yeah. I mean in the studio we have a bunch of keyboards and everything all laid around which we don’t bring on tour. They’re too old, and I just had a number -- I mean in the old days, you know, you’d have a couple of guitar or two or three guitars and you want to change them between songs and different part and they’re -- I shouldn’t move that time. I don’t bother with that. You just have the one guitar and just plug it in and just. To me it’s more interest it’s more important, no interesting in it to get it done kind of quick, and later you can tweak if you feel the need to.

Well, we would. I mean we just billed it out in our keyboards over the years. I mean we started with one Farfisa Bravo and a Moog, a Rouge Moog, a Rouge Moog. I mean gradually sort of added to that until we have like quite a lot of big Farsisas, the duet compacts of two or three of those. We’re not all working but we do have to freeze. We got Vox Continental, Vox Jaguar which we are using live. We got Wurlitzers, we’ve got Rhodes, we got -- what else we got. We got electric harpsichord made by Farfisa, which is great. We’ve got -- various things like that, yeah, which we have been used to edit to. I’m not so interested in key and guitars. I’m more interested in, “Basically, I have a Gretsch country gentleman,” and the Fender Mustang and that’s the ones I use almost over everything.