Legendary instruments

Organs and piano's

Vox Continental (1966)

The organs form the backbone of our sound. Central to this is our 1966 Vox Continental, an exceptional model with a story all its own. Created in the period when Vox production was split between the U.S. and Italy, our Vox Continental features Italian made components despite being intended for the U.S. market, running on 110V. This quirk makes it sound especially bright and aggressive, which you'll hear in tracks like Petition and Mary Go Round. The Vox Continental's raw, punchy tone carves out a distinct space in these songs, adding a unique, sometimes eerie edge.

Our Vox Continental sounds especially bright and aggressive, which you'll hear in the tracks Petition and Mary Go Round

Gibson G101 / Kalamazoo (1968)

Our Gibson G101 brings another dimension. Known as Ray Manzarek's go-to in The Doors, this organ is something Willem has spent years mastering through The Doors In Concert. This familiarity allowed us to create rich, layered organ parts on Shipwreck Shuffle and Accident, songs that channel a 'Doorsy' vibe with ease. Unlike other organs, the G101 has a throaty, almost percussive quality that fits perfectly with Yes Mother's sound.

The Gibson G101 brings another dimension, known as Ray Manzarek's go-to in The Doors

Farfisa Compact Duo (1968)

Our Farfisa Compact Duo, an iconic instrument from the late '60s (often associated with bands like Pink Floyd) adds yet another layer of psychedelia. We paired it with the Farfisa Amplified Reverb (F/AR) for haunting storm effects on 100 Years Of Lightning. The Farfisa also shines on Risky Business and Pesticide Paradise, creating a lively, slightly rebellious '60s sound that recalls bands like Strawberry Alarm Clock. It's a versatile instrument that can switch between playful and menacing with ease.

The Farfisa Compact Duo brings a vintage '60s edge to our sound, adding psychedelic flair with its bold, unmistakably retro reverb and tones.

Fender Rhodes stage piano (1977)

Finally, the Fender Rhodes MKI 73 from 1977 rounds out the keyboard section. Known for its smooth, mellow timbre, this instrument lends a warm, atmospheric quality to 100 Years Of Lightning and Sleep Our Sleeps. While famously used in tracks like Riders on the Storm, the Rhodes here helps build a vintage ambiance that gives our songs a deeper, soulful feel.

The Fender Rhodes MKI 73 adds a smooth, balanced tone to our sound, with a classic, electric piano feel that fits perfectly within our music.

Mellotron M4000D

The Mellotron, a keyboard known for its tape-based sound reproduction, brings a unique, ethereal quality to our music. First made famous by bands like King Crimson, The Beatles, Yes, and Genesis, it produces orchestral-like sounds by playing back pre-recorded tapes of instruments like strings, brass, and choirs. Unlike other synthesizers, the Mellotron has a raw, organic feel, as each note is essentially a recording of a real instrument, creating a texture that's both rich and somewhat imperfect. We used this iconic instrument to add lush, cinematic layers to our tracks, with its distinctive warmth and haunting tone elevating the atmosphere of our music.

Mellotron M4000D: a keyboard that plays back sounds from tapes, adding a distinctive, warm texture to our music with every note.

Fender Rhodes Piano Bass (1966)

Willem's left hand takes on all the bass duties through a vintage Fender Rhodes Piano Bass from the '60s. Unlike later models, this version has a woolly, warm tone that adds a rich, foundational sound on every track. Without a traditional bassist, this instrument fills in beautifully, adding a unique low-end depth that completes our band's sound.

The Fender Rhodes Piano Bass from the '60s delivers a distinct, woolly bass tone that's unlike later models, adding a unique warmth and depth to our sound without a bassist.

Guitars

Sander's guitars bring a full spectrum of tones, from gritty rock to lighter, more melodic touches. His Gibson Les Paul Standard Slash drives Shipwreck Shuffle with its iconic rock tone, while the Fender Stratocaster brings a brighter, glassier sound to Mary Go Round. For hauntingly resonant notes, the 1971 Gibson ES320 shines on Roam, its vintage timbre perfect for the track's atmospheric feel. Finally, the Gibson Les Paul Standard 50s adds warmth and depth on 100 Years Of Lightning, creating a rounded, classic rock sound that fits the album's retro foundation.

Our guitars, including vintage Gibson Les Pauls and a Fender Stratocaster, deliver a blend of power and finesse, each adding its own character to our sound with rich, dynamic tones.

Drums and percussion

Our drum setup combines vintage warmth and punch, thanks to an early '50s Copper Mist Gretsch round badge kit with sizes 22, 13, and 16 inches. Lovingly refurbished by Luka van de Poel, it has a deep, resonant quality. The Ludwig Supraphonic snare cuts through with clarity, while our cymbals—a mix of Istanbul Agop and Paiste—add their own color to each track. With the Istanbul Agop jazz ride, 14" hi-hat, and the distinctive Paiste 2002 crash and medium cymbals, each song gets just the right rhythmic flavor. To add texture, we've incorporated tambourine, juju bells, and temple blocks, which add subtle but impactful rhythm layers.

The drums, featuring a Copper Mist Gretsch kit from the early '50s, offer a punchy yet smooth rhythm, supported by classic cymbals that bring a timeless feel to the album.

Amplifiers

Fender Twin Reverb (1970's)

The Fender Twin Reverb is a legendary guitar amplifier and was the go-to-amplifier for a lot of musicians back in the day. It can be heard on countless classic recordings and was for instance used by The Beatles, The Rolling Stones and The Doors. By following the footsteps of our heroes from the 60's and 70's, we used some Fender Twins from the 1970's to record all the bass, organ, electric piano and electric guitar parts. The Twins are known for it's beautiful warm and clean sound, but can also be dirty and overdriven when the tubes are pushed a little harder. This makes the Twins perfect to reflect the sound and character of our beloved instruments, while also adding it's own character to the sound. You can hear our Fender Twins on every Yes Mother song (except Roam), which makes it a constant factor throughout the album!

Fuzz

Jen Tone Bender (1960's)

For all the fuzzy guitar parts, Sander used an original Jen Tone Bender from the late 1960's. This germanium fuzz pedal can be heard all over the Yes Mother album, for example on Shipwreck Shuffle, Pesticide Paradise and Mary Go Round. The Jen Tone Bender sounds wild, dirty, nasty and aggressive, which makes it a perfect fit for many Yes Mother songs!