Then I have a suite of software synths like the Arturia V Collection. I have my piano, which is a Steinway, and vintage synths – Roland Jupiter-8s, Juno-60 and a Moog Prodigy and a few new ones like the Prophets. I have really great Dynaudio BM12 monitors that sound fantastic.
Sometimes, we also collaborate completely on the tracks like with Revolution Of The Heart, where we did that together. Then Robbie adds his brilliant magical stuff and his sound design to it. H: With the new album Transform, it was a bit different as Robbie was also working on another album, so I just got on with the writing and the arrangements at my place and then presented it all to him, and then we got together to mix it. It’s weird, isn’t it… weird but true! How does the writing process work between the two of you? I said: ‘Oh, you must come down to the studio,’ and that was it, we’ve been working together ever since. It was years after the letters – around the early 2000s – and was literally a total coincidence. So I hadn’t actually met him, but had heard his demos, thought they were great, and then by chance I had just come out of a dentist in Maidenhead and Robbie was walking by. In fact, he now has that letter framed in his studio – it seems a bit patronising now! Howard Jones: On the street, weirdly enough! Robbie had sent me some demos and I had written back to him saying I thought they were brilliant. Howard Jones and Robbie Bronnimann Hi guys, so how did you two first meet?
The only problem being, as Howard laughs, you have to have access to more than one lifetime to enjoy it all. From the joys of Omnisphere to the strains of modular, it’s certainly a great time to be making music with synths, we’re all agreed. We head down to Robbie’s incredible Bristol-based Recognizer Studios to talk synth technology with Howard and Robbie.
0 kommentar(er)
