This is a straightforward breakdown of the gear and software I use to write and record music as Fauhn. None of it is precious, and most of it has ended up here through habit rather than careful planning. What matters more than the kit itself is how it fits into a process that keeps songs moving.
If you are looking for a perfect setup, this probably is not it. If you are looking for something practical that helps you finish songs, there may be something useful here.
Reaper
I have been using Reaper for around six years. I originally adopted it because it worked well for sharing stems and ideas with my other band, Metatone, and over time it has become the centre of my workflow.
For Fauhn, Reaper is where everything gets finished. I export audio from Maschine, then record additional instrument overdubs and vocals in Reaper, before moving on to mixing and mastering. Because I know it well, it stays out of the way and lets me work quickly.
Over the years I have built up a small collection of plug-ins that I rely on. Two favourites are Scheps Omni Channel and the Aphex Aural Exciter. They both do a lot with very little fuss, which suits how I like to work.
Maschine Mikro Mk3
Maschine Mikro Mk3 is the real starting point for every Fauhn track so far. It is where initial song ideas, chord progressions, and melodic sketches happen. Once something feels promising, I lock in drum patterns and rough arrangements.
Quite often a song is around eighty percent finished before it ever leaves Maschine. At that point I export the audio into Reaper and decide what else the track needs. Sometimes that is vocals and guitars. Sometimes it is just refinement and space.
More than any other piece of gear, Maschine Mikro is the catalyst. It helps me move quickly from an idea to something that already feels like a song.
Line 6 HX Stomp XL
I use a Line 6 HX Stomp XL for both guitar and bass. It handles full sound design, including effects and amp and cab simulation. It is a practical tool, but also a creative one.
I originally had the Helix for use with Metatone, and it made sense to bring it into the Fauhn setup. It lets me record quietly, stay consistent, and avoid losing time to setup changes. Occasionally I will record direct and use Guitar Rig inside Reaper, but the Helix covers most situations.
Amps: Marshall and Laney
I have a Marshall AVT150 for guitar and a Laney RB8 for bass. I will sometimes mic them up for Fauhn tracks, but more often they are there for feel and inspiration rather than being central to the recording chain.
Even when the final sound comes from the Helix, playing through a real amp can help get the right performance.
Guitars
My main guitars are a Fender Stratocaster, a Fender Telecaster, and an Epiphone Les Paul Gold Top. The Les Paul has been upgraded with Seymour Duncan pickups.
I tend to start writing on the Strat unless I am chasing a very specific sound. The Tele and the Les Paul come out when the track asks for something more pointed or heavier. I try not to overthink the choice. The right guitar is usually the one that lets me get the part down without fuss.
Basses
I use a six string LTD bass and a four string Epiphone Thunderbird. I usually record bass with a pick, and it always goes through the Helix rather than an amp.
Bass is a big part of the emotional weight of a Fauhn track. I try to get it feeling settled early, because once the bass feels right, everything else tends to fall into place.
Keyboards and MIDI
For keys and MIDI, I use a small Akai LPK25 and an M-Audio Oxygen 61. The Akai is mainly for sketching ideas. The M-Audio is sometimes used for more deliberate performances during recording.
Both are always used as MIDI controllers. I do not record keyboard audio directly. They drive synths inside Maschine or Reaper, and I will often program MIDI rather than play parts if that suits the track better.
Software instruments
Most synth sounds come from stock Maschine instruments or from Kontakt and Massive. I also use a few specialised virtual instruments, including Session Guitarist Electric Mint, Shreddage 3 Stratus, Scarbee Rickenbacker bass, and Electric Keys Phoenix.
My usual approach is to start with presets, find something close, and then adjust lightly. Guitar-based virtual instruments are the exception, where I often have a clearer idea of the tone and tweak more deliberately from the start.
How it all fits together
I try to keep as much as possible inside the computer, Maschine, and the Helix. Fewer moving parts means fewer excuses to stop. What matters most in this setup is the process, not the equipment.
If there is one takeaway, it is this. Build a setup that helps you move from idea to finished song without getting stuck. For me, that starts with Maschine Mikro and ends with committing decisions rather than chasing options.