How to Use Plugins to Get Things Right

I'm not a total like analogs knob I definitely got plugins on there. There's so many amazing tools it's getting easier and easier to kind of get things together quickly but you know honestly the stuff that I use plug-in-wise I try and use mainly outboard stuff. Synth wise up to 600 gets the most use of any synth I've ever had, it's brilliant noise machine. The Mutron all the time is what I use probably on every single record he says. He also uses Primal Tap for an in in the box delay because they're just the quickest.

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In this episode, John ventures over to Clapton to join James Ellis Ford and talk about how he wrote, recorded, and produced the album ‘The Hum’.

His debut solo release after almost two decades working with some of the world's biggest artists, James looks back on how his approach to music has changed over the course of the album, reflecting on the different mindsets and decisions that come with producing his own work compared to that of others.

As well as a deep dive into his vast studio setup and hybrid system of new and old creative techniques, we’re treated to thoughts on the fine line of ironing out the humanness of mistakes, and how more often than not, pieces of gear can give you back ideas that you’d never have expected.

Listen to find out which undiscovered mics are used across almost all of the records he works on, how to implement a Frippertronics-style tape setup, and what you can create when you push a bass clarinet to its limits.

Tracks discussed: I Never Wanted Anything, Squeaky Wheel, The Yips

LINKS TO EVERYTHING TAPE NOTES

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Listen to ‘The Hum’ here.