SoundToys Decapitator
“I’ve always been a fan of distortion, even back when I was a bass player in a skate punk band. I loved using fuzzboxes, but since I’ve become an electronic producer, I’ve found it difficult to find a decent plug-in.
The Decapitator does the job really well as it gives a nice tight edge, plus it’s more than capable of demolishing your sounds, if that’s what’s required. I used it on the bassline of my most recent single Momento with just a little mid-range EQ, and it sounds huge.”
Sonalksis TBK (aka Creative Filter)
“I love simple but effective FX, and this does exactly what it says on the tin. It has three basic settings that range from smooth, deep, long and drawn-out to aggressive and short with a rich texture. I use the latter type on more energetic tracks.”
Native Instruments Reaktor
“Hats off to NI - Reaktor has become a reach-for bit of kit. The sounds are as thick and solid as any of the analogue gear (well, most of it) out there. The latest version is also a lot more user-friendly and stable than its predecessor. I can always find something that will fit with the track I’m working on.”
Waves H-Comp
“I’m a big fan of Waves software in general, but as compressors go, H-Comp is my favourite. It has tempo sync, which gives the pump a really natural feel.
I tend to group my percussion by itself, and when this plug-in is coupled with the Decapitator, you can find great textures and FX as well as some really unique grooves.”
iZotope Ozone 5
“Ozone 5 is a bit of an all-rounder, with built-in EQ, post-EQ, harmonic exciter, reverb, stereo imaging and dynamics. I tend to use it on the main output and just dial in what is missing sonically from my tracks. It’s so effective that I sometimes feel like I am cheating!
“Unfortunately, it’s not something you can just switch off when you send your track to be mastered because it becomes an integrated part of the production process, so I find it pays to be subtle.”
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