Something I get asked the most is what I use to create my music, so here I have compiled some information about the gear I use. Before I begin, I cannot stress enough my belief that expensive gear does not necessarily = good quality music and less expensive gear does not necessarily = bad quality music. Composers looking up to their influences and replicating their studios in an attempt to become like them isn't the way forward - keep in mind that everyone uses a different variety of tools and it's up to you to discern what you need to make your own music, and what you feel most comfortable working with - there's not a magical shopping list of gear anywhere that will make you a better composer. However, I appreciate that some of us here are simply gear nerds, so here we go...


I recently switched my main rig to a Windows PC as I try to avoid slave machines at all costs, and Apple's line of 'professional' computers wasn't cutting it for me. I have a 6 core 3.6Ghz 64GB machine, with a 2TB Samsung 960 Pro for samples and everything else on SSDs. I use my Mac alongside my PC for everything other than music production, and my files are accessible on both machines via the studio server. This way I get the best of both worlds. I use the Focusrite Clarett 8Pre and Scarlett 2i4s as my main audio interfaces and a Novation Impulse 61 as my primary MIDI input device. For monitoring, I use a pair of Focal Trio6 BEs as my main pair with Yamaha HS7s as a reference pair, and Audio Technica ATH M50Xs headphones (I'm on my second pair). I can't recommend the Audio Technica's enough especially. I use a passive Palmer Monicon L to control all these. My number one piece of advice for anyone looking for new monitoring equipment is to compare multiple brands and models for yourself in your own room. I demoed multiple pairs of monitors in-store before I decided on the Focals, with a pair of Amphions coming in at a very very close second. I then took the Focals and Amphions home with me and in my own space, the difference was night and day.

Studio 2017

I'm also a big advocate for treating your room (this can be done very cost effectively if you go DIY) as it can make a massive difference - even with the cheapest of monitors.


Back when I started writing music, I was running Garageband on my Grandparents' old Powerbook G4 laptop. This was the first time I experimented with computer music and I loved it, so therefore the transition to Logic Pro 9 and later to Logic Pro X was quite natural for me. I used Logic for around 5 years, however I switched to Cubase in late 2016. The reason for the switch was Logic's poor CPU management, and the vast realm of customisation and options that I felt Logic was lacking. Once I'd changed Cubase's colour scheme from Cubase blue to Logic Pro black, I loved it instantly...I use two touchscreen control surfaces to enhance my DAW workflow. My switch to Cubase motivated my switch to Windows and I'm now running Cubase 9.5 on Windows 10 as my primary DAW.

Rack 2017


99% of the sample libraries I use run in Native Instrument's Kontakt 5 engine - it's pretty much the heart of my composing workflow. I run a ton of libraries in Kontakt from developers such as 8DioV8PEast WestCinesamplesOutputSpitfire AudioNative InstrumentsEmbertone, Fracture SoundsHeavyocityOrchestral Tools, Spectrasonics and Soundiron. I highly recommend checking out Audio Imperia libraries in particular - they're affordable and of extremely high quality (not paid to say this). I also have an ever expanding collection of my own custom libraries and hundreds of sample libraries on my machine in total, so I won't make a list - but feel free to get in touch if you have a question about a specific sound. I also use a Roland Aira System-1M, Korg Monologue and various guitar pedals for particular sound design applications, and effects from a variety of producers - some of my favourites being Soundtoys, Valhalla, FabFilter and Cableguys. 


Despite my complete incompetence as a guitarist, I often track in acoustic and electric guitar to add additional textures. For piano, I track my Steinberg concert upright, which is also available as a sample library for Kontakt here. It has a practise felt layer and sounds incredible up close. A live ensemble in a good room makes such a huge difference to the overall production value of a piece of music, and have been privileged to taste this through recordings in Eastern Europe and in London at Abbey Road - I really strive to record scores live wherever budget allows. Recording any kind of live instrument makes such a massive difference to the overall sound, even if it's not at the forefront of the mix.