Apple Logic Pro X
“It’s been Logic all the way for me. When you’ve been using something for that long, you kind of evolve along with it; you alter your technique to suit each upgrade. I’m almost at the point where I could make a track with my eyes closed! And surely that’s the best way to use any tool or instrument in the studio. When it becomes second nature, there’s no interruption in the creative process.”
Universal Audio Lexicon 224
“When I’m putting a song together, all the production side of things gets done in Logic. But once I’m ready to get a finished product, I’ll bring in the UAD stuff.
“The 224 is spectacular and gets used on all my vocals. I don’t think I’ve heard a better reverb.”
“I grew up with hardware synths, but I’ve put them all in storage. These days, the studio is in the laptop. OK, you lose something from the sound, but you gain so much more in workflow.
“Like Logic, this is a piece of software I know so well. Unprocessed, it has its limitations, but with the right plugins, it’s a brilliant and texturally-interesting all-rounder.”
Rob Papen Predator
“Every now and then, you convince yourself that you need a radical new bass sound. I’m sure it happens to every producer! When I first had a mess around with Predator, I really felt like I’d found something different… that mix of sub and hard pitching.
“If you listen to the track One More Night In Stars from the new album, that’s all Predator bass.”
Dolby Atmos Production Suite
“The first time I heard this, it blew my mind! It gives you the feeling that you’re really flying; being able to move sound anywhere in the 3D space. And, as a listener, you feel like you’re in the middle of a totally immersive piece of music.
“At the moment, the price of the hardware is quite limiting, but… will this be the way we listen to music in the future?”
Matt Darey’s Wolf is the first electronic music release to be specifically written and produced for 7.1.4 3D surround sound in the Dolby Atmos format.