Sport & Auto
- About Future
- Digital Future
- Cookies Policy
- Terms & Conditions
- Investor Relations
- Contact Future
“I’ve adapted my set-up depending on the project I’m working on. When I started working with The Beauty Room, which was a more Pop-y almost over-produced sound, I had a lot of expensive outboard EQ and compressors.
"I also changed my set-up when I started making Drum ’n’ Bass – Recycle had just come out and was incredible. I needed a really good sampler, too, so I got the E-mu E4, which was the high-end sampler. A lot of Drum ’n’ Bass producers were using the Roland S760 at the time – people were moving away from the Akai’s crunchy, lower bit-rate sound.
“With the Mo’Wax deal, I kitted out my studio with vintage keyboards like a Fender Rhodes, a Clavinet and a Wurlitzer. I had a whole lot of great hardware effects like the Ursa Major Space Station and Moog parametric EQ and in 1998 I got my first modular system, which was a Doepfer. I had it for about six weeks, loved it and immediately wanted something high-end so I bought a four-panel Serge system. It was just insane, beautiful, almost digital in its precision. I had the TKB sequencer and three panels and that was my set-up for years.
“After Mo’Wax I got signed to Island and that was a big deal. I started getting asked to make music for TV commercials and was doing really well out of that and investing it all back into the studio. I bought a full Pro Tools rig – the one before it was HD. With that rig and a studio full of vintage gear, that was the pinnacle of my studio size.”