Many people ask how I do my work - Well, here it is. I've decided to

put this page up especially for all you inquisitive people.

I have been collecting sounds for over fifteen years now and have a vast library of quality source material (samples). When I look for a sound(s) for a project I always insist on user ability, this ensures more effort going towards the creative flow and not the technical. The quality of the samples are also very important, often less is more, so choose sounds that sound great so you don't need to layer them over and over again. Just think of finger painting, if you mix it all in you'll have a mess. In my case I choose sounds that will cover a particular category:

1. User ability

2. Quality

3. Scope - width

4. BPM - beats per minute

If your sounds are categorized properly, you will inherently skip much of the technical (often frustrating) and continue with your creative process.

I am a Macintosh user but to the best of my knowledge all the programs I use are available for the PC platform.

• Sampling tools - Digidesign SampleCell II x4 32mb each. Sample Cell gives me all the freedom I need to build a combination of instruments and route them to the console independently. This is useful for any kind of sound design textures or orchestration. As a rule I use audio for loops because of the editing flexibility. Sample Cell has polyphony on its side for playing multiple samples on the keyboard.

• Audio Tools - There are a number of audio cards on the market (Digidesign - Pro Tools, Korg - 1212 ,MOTU - 2408).

All these will provide excellent audio editing. I use this instead of tape, therefore this is my virtual recording device. In general, most cards will give you 8 tracks of audio (you can add on for more) Audio editing enables you to see your recordings and cut and paste them into different parts of your song. For example: you like your drum fill before the second chorus but not the first - you can copy the one you like and paste it into the section you don't like and also customize the edit as well. Just think of your work as a jigsaw puzzle with flat ends, they can fit anywhere. Great for all custom designed recordings for your work.

• Synthesizers – My fisrt synth was an ARP Odyssey, since then I’ve had many. Now I use the Roland JD-800 for textures. I like its programming features and in particular it’s depth. When used in Multi Mode, you can have up to five patches playing at once but there is a limitation on effects. Every now and again I’ll take my JD-800 out of the studio environment, plug in a set of headphones and make more sounds. The JD never ages. I also have the NORD Synth module, great for basses and cool analog stuff, great programming filter sweeps, works seamlessly with you sequencer. My most recent synth  is the Roland JP-8080, I just plugged her in and she did the work for me, the set-up was a little complicated but once that was done and you understand its mere logic, she purrs. Good all round synth but very electronic sounding, good effects and vocoder parameters. I also have the Roland MK-80, this is my master keyboard and a great Rhodes too. I look for a synth that has a soul, If you can’t get your synth to talk, don’t buy it. It will just sit in you studio and never be used. There has to be some instant gratification from your new synth if you’re going to spend time mastering it.

• Sequencing - To date I must have sequenced hundreds of thousands of bars. What do I look for? An end result I'm happy with. I helped design (Page R) the sequencer for Fairlight Instruments in the 80's, so I knew what I was looking for. I started using Steinburg's sequencer, 'Cubase' on an Atari computer. Its logic was easy and deep at the same time. Years later I'm using Cubase VST a powerful workhorse, but capable of the simplest functions. A sequencer will take all your samples, synths, and recordings, put them on the chopping board so you can make your meal (song). Sequencing music has always fascinated me; you can never do it the same way twice. It just has a life of it's own. How do I start? Sometimes I start with a simple drum loop, add synth textures followed by melodic content, or the complete opposite. In Cubase VST you can not only edit your midi notes but also edit your audio, you can record your instrument into Cubase (through your mixer) and play along with you midi files.  Sometime I like to loop a section and play the guitar line over and over again until I nail it, go into the recording, copy the piece I want and toss the rest. When this is done you can choose any number of 'plug-ins' to enhance your recording - EQ, Compression, Reverb, Delay, Distortion, Tape saturation, and tons more. Once you start sequencing your music you'll be hooked.

• Mixing Console - On the Mixing console I can take any one of my elements and tweek them, adjust Eq, compression, volume, effects etc. I've used all kinds of consoles for different projects from the big SSL (Solid State Logic) consoles, to the small Mackie consoles. I now own a Mackie D8B. I was drawn to this console because it has so many outputs (I need them for SampleCell), and total recall. When you've worked on a mix for three days you want to be able to pull it up and have it sound the same as you left it. Gates on each channel keep the noise down, and onboard effects are good. Why do I need a Mixer? You're right, why do I? My next upgrade will be a compete computer based system, powerful and portable.

• Computer - This is the boiler room of your studio. I once put a sensitive microphone into the chassis and it sounds like one. It drives your programs and holds memory for your samples, uses it's CPU power for 'plug-ins', drives your audio cards. I have a Macintosh G3 tower with a Magma chassis for my cards. It is imperative that you look after your computer. Be sure to optimize your drives and backup your work regularly. It HURTS when you lose data. Know how your computer works and how it manages your files, this will decrease the chance of data loss. If your computer crashes along with your hard earned creativity, it can be expensive to recover.