Harry Gregson-Williams's LA studio complex, Wavecrest Music, commenced operations in Venice Beach in August 2003, and comprises three floors of editing suites, mix rooms and a live room, as well as Harry's own studio on the top level. This houses the following gear:

Sequencing and digital audio

*Steinberg Cubase SX and Ableton Live running on dual 3.6GHz Xeon server with 4GB RAM, two RME HD*SP 9652 soundcards, 75GB mirrored SATA system drives and 400GB mirrored SATA audio/sample storage drives. MIDI is streamed over LAN to Gigastudio PCs, and an Emagic Unitor 8 and AMT8 are used for hardware synths. *Pro Tools HD Accel system running on dual 2GHz Apple G5, with one 192 Analog and seven 192 Digital interfaces.

Samplers

*14x Emu E4X. *24x Roland S760. *7x 3.0GHz Pentium 4 PCs with 80GB SATA system drives, RME HDSP 9652 soundcards and 250GB SATA sound drives with custom and commercial sound libraries, running Tascam Gigastudio 3.

Software synths and plug-ins

*Arturia ARP 2600, Minimoog V and CS80. *Antares Filter and Auto-Tune. *Applied Acoustics Lounge Lizard. *Gmedia Imposcar and Oddity. *GRM Tools. *Korg Legacy Collection. *Native Instruments Absynth 3, Battery 2, FM7, Kontakt 2, Pro 53, Reaktor 4. *Ohm Force Ohm Boyz. *Spectrasonics Stylus RMX, Atmosphere and Trilogy. *Steinberg D'Cota, X-Phraze, Virtual Guitarist, VG Electric Edition, Groove Agent and Halion.

Hardware synths

*Access Virus, Indigo 2 and Redback. *Clavia Nord Rack, Nord 3 KB and Nord Modular. *Korg Trinity Pro X, Wavestation A/D and M1R. *Novation Supernova II Pro. *Roland JP8080, JD990, JV1080 and MKS80. *Studio Electronics SE1, ATC1 and Omega 8. *Waldorf Q, Microwave II, Microwave XT and Pulse.

Recording, mixing & outboard

*Avalon 727 preamp. *Eventide DSP4000 effects. *Lexicon PCM80 and 90 reverbs. *Quested HQ108 speakers in 5.1 setup. *5x Yamaha 02R digital mixers.

This E-Mu sampler is situated back in its own fly-case, just above the Akai S6000.

Mentioned in a May 2002 Keyboard magazine article by Hardy Fox.

The Wormwood tour in 1998 included E-mu E4X, Alesis QS6.1, Yamaha DJX, and two DigiTech Vocalists.

"Yet another sampler. It may make me look like I'm just full of samplers, but the reason why I value samplers so much is because they sound so much better than regular sound modules and also, you can add new sounds just by getting more samples or creating your own. I doubt that I'll ever go back to regular sound modules, unless they come up with some extraordinary ground breaking equipment."

Isham's 'orchestra pit' is, however, no slouch, with several Akais (S3200, CD3000, S1000, S1000PB and three S2000s), three Emu E4Xs, three Roland S760s, plus a selection of older units. "They each have their own characteristics — the Akais have a tremendous transient response, and for percussion they're just brilliant; the Rolands have a warmth about them. I also have so many because of the various different programmers that work in the different formats. Eric Persing of Spectrasonics pretty much works for Roland, and he's just so good that I had to have some Roland gear to take advantage of his wonderful work."

"I have three E-MU E4's, all maxed out. They've been a dream. I have a huge sample library. All legitimate, I might add. I went out and bought all of it."