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How It Was Made: Wehbba - Straight Lines and Sharp Corners

Wehbba takes us into the studio to show off the gear used to make his new album.


Brazilian producer and DJ Wehbba released his new album Straight Lines and Sharp Corners earlier this month on Drumcode. The album is still quite firmly techno, but uses a combination of synthetic and organic sounds collected on his field recording expeditions to expand beyond the thunderous mainstage techno sound we often hear from Drumcode. The former dentist has built himself quite the collection of hardware in an impressive studio. Given the circumstances and that producers should be spending more time in the studio, we had Wehbba explain how his new album was made with all of the gear on the project.

Listen to the full album now as you find the parts where he used various pieces of gear and get your copy here.

See other How It Was Made features now.

The MOOGs:

These are used extensively over the album; the Sub37 makes that growly little hook that pops up on “Deluge,” and also the ominous lead on “Sharpshooter,” plus loads of other bits throughout the album. The ONE shines on the intro, but it’s used extensively as well in most other tracks with more subtle effects and embellishments, as it came to the studio a bit late into the production process, so I didn’t really use it as much as I would have liked.

Moog One & Sub37

Moog One & Sub37

Zoom H6:

This was probably the most used tool, both in the production and in the conception of the album. Since I got this little geezer I’ve started to go on field recording expeditions everywhere I go, while on tour or not, and I used lots of these recordings in every track of the album to give it a more personal and organic vibe. I like both mics that came with it; they do a decent job of capturing a wide range of sounds. “14th To Grand Central” is a based on one of those recordings, for example, and also some bootleg shots from a jazz concert I went to over there that appear on “Brainflex: Interlude.” On “No Sleep” the groove is based on a recording of me scratching the sand with a stick in Bali, can you hear it?

Zoom H6 Microphone Recorder

Alesis Effects:

I’m a big fan of the old Alesis units; they add instant vibe to anything I run through them. I use them a lot with stuff in the box to give them an edge, an old school digital vibe, or just plain fatness. They sit in my return channels and are used extensively throughout the album, either on the mixdowns or during the production process as well. “Brainflex: Interlude” is a drastic example of how I used these boxes to achieve a kind of 90s aesthetics. The micro limiter is the main parallel compression unit for my drum bus.

Alesis Effects

Alesis Effects

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The Drums:

Here you can see my Elektron Analog Rytm, the Pioneer DJ Toraiz SP16 and the Roland TR8s. I make pretty much all of my drums with these boxes and also with my good old DR110 (off-picture). I love the power of the Rytm, it’s just so punchy and crisp, either with its analog machines or running 909 or 808 samples through it. The SP16 handles my sample sequencing, whenever I want to reach for different sounds like the DMX, RZ-1, or other sample based old school drum machines, which I don’t have. I also use the filter a lot to process different things, and I normally record my DR110 into it and sequence it through there. And lastly, the TR8s is probably my go-to drum machine, everything tends to start on it in every track I make. Naturally that’s the box I’ve chosen to bring with me on the road for the album tour, as part of my “Live Station” rig.

Drums Elektron Analog Rytm, Pioneer DJ Toraiz SP16, Roland TR8s

Elektron Analog Rytm, Pioneer DJ Toraiz SP16, Roland TR8s

The Modular Synth:

I used this small system in every track of the album. Most of my “101” duties are performed on the Atlantis, except in “Sharpshooter” where I used the Roland SH01A. Lots of drums come from the Basimilus Iteritas Alter, the main hook from “Deluge” comes from the Furthrrr Generator running through the Evolution. Braids does the glitches in “Basic Pleasure” and lots of other bits throughout the album. There’s a wave folder on my other rack from WMD/SSF that I used quite a lot to process lots of my kicks and other sounds. I love folding everything; it often brings up some great tones I wouldn’t instinctively think about.

Modular Synth


The Polysynths:

The Virus TI is my first hardware synth, and still one of my favorites. I made my first album with it, and it’s in most tracks I’ve ever made since I got it. The bass line and the hoovers on “Basic Pleasure?” Virus TI. The pads on “Coup Of Doubt” and “Residual Self?” Virus TI. The Prophet 6 is also one of my favorite synths. It can sound super modern and juicy, or really old school and dusty, and do lush or abrasive; no matter what, it sounds good. You can hear it on “Basic Pleasure” and also on “Hyper Real Decadence” - that the super distorted stab, for example.

Polysynths Virus TI & The Prophet 6


This was my first 303 clone, and I love it, cause it has its own sound. It does acid, but with class. I made “Coup Of Doubt” a few years ago, but I reworked it for the album, and used this bad boy instead of the plugin I had used initially, it brought a totally different edge to the track. “Second Nature” also has a very distinctive 303 line that comes from the MB33, I always have a lot of fun jamming with this little box.



Antelope Goliath:

It may sound a little boring to speak about the interface, but not in this case. This mammoth of a converter plays a big part in my sound from 2019 up until now. I love how crisp and clear the preamps are, and they also have a very special sound when pushed just a little over the limit. I also use their plugins a lot to print the recordings from the synths going through their preamp models and compressors just makes everything come alive before I even get to the mix down stage. 

Antelope Goliath

Antelope Goliath

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