Charlie Clouser

Seen on his main desk for composing soundtracks, visible at 2:27 in his Creative Cribs video.

A few yeras ago our choices were limited to basically running stuff through the filter input of the Minimoog or putting it into the Eventide H3000.

Charlie Clouser is listed as a user of the Jomox XBase 09 drum machine on the Jomox website.

I do all my main composition, recording, and mixing inside Logic X on a Mac Pro cylinder, and output the results to as many as eight 5.1 stems which are routed via MADI over to a second Mac Pro running Pro Tools HD-Native, which is acting as a basic layback recorder. A third computer, a Mac Mini, is slaved to Logic via MTC and is running Video Slave software that I helped to develop. This takes the video playback load off of the main Logic machine and simplifies things a bit. I use MOTU 112d and 1248 AVB interfaces, along with a UAD Octo, on the Logic machine, and Avid MADI and SyncHD interfaces on the Pro Tools stem recorder. I repurposed a couple of older Mac Pro towers as orchestral slaves running Vienna Ensemble Pro, although I use these pretty rarely, and I do a fair bit of sound design and rhythm programming in Ableton Live and Reason which run as ReWire slaves behind Logic. Tons of plugins, as you'd expect, ranging from the amazing UAD stuff to more out-there stuff like Sinevibes and Audio Damage.

I do all my main composition, recording, and mixing inside Logic X on a Mac Pro cylinder, and output the results to as many as eight 5.1 stems which are routed via MADI over to a second Mac Pro running Pro Tools HD-Native, which is acting as a basic layback recorder. A third computer, a Mac Mini, is slaved to Logic via MTC and is running Video Slave software that I helped to develop. This takes the video playback load off of the main Logic machine and simplifies things a bit. I use MOTU 112d and 1248 AVB interfaces, along with a UAD Octo, on the Logic machine, and Avid MADI and SyncHD interfaces on the Pro Tools stem recorder. I repurposed a couple of older Mac Pro towers as orchestral slaves running Vienna Ensemble Pro, although I use these pretty rarely, and I do a fair bit of sound design and rhythm programming in Ableton Live and Reason which run as ReWire slaves behind Logic. Tons of plugins, as you'd expect, ranging from the amazing UAD stuff to more out-there stuff like Sinevibes and Audio Damage.

I do all my main composition, recording, and mixing inside Logic X on a Mac Pro cylinder, and output the results to as many as eight 5.1 stems which are routed via MADI over to a second Mac Pro running Pro Tools HD-Native, which is acting as a basic layback recorder. A third computer, a Mac Mini, is slaved to Logic via MTC and is running Video Slave software that I helped to develop. This takes the video playback load off of the main Logic machine and simplifies things a bit. I use MOTU 112d and 1248 AVB interfaces, along with a UAD Octo, on the Logic machine, and Avid MADI and SyncHD interfaces on the Pro Tools stem recorder. I repurposed a couple of older Mac Pro towers as orchestral slaves running Vienna Ensemble Pro, although I use these pretty rarely, and I do a fair bit of sound design and rhythm programming in Ableton Live and Reason which run as ReWire slaves behind Logic. Tons of plugins, as you'd expect, ranging from the amazing UAD stuff to more out-there stuff like Sinevibes and Audio Damage.

I do all my main composition, recording, and mixing inside Logic X on a Mac Pro cylinder, and output the results to as many as eight 5.1 stems which are routed via MADI over to a second Mac Pro running Pro Tools HD-Native, which is acting as a basic layback recorder. A third computer, a Mac Mini, is slaved to Logic via MTC and is running Video Slave software that I helped to develop. This takes the video playback load off of the main Logic machine and simplifies things a bit. I use MOTU 112d and 1248 AVB interfaces, along with a UAD Octo, on the Logic machine, and Avid MADI and SyncHD interfaces on the Pro Tools stem recorder. I repurposed a couple of older Mac Pro towers as orchestral slaves running Vienna Ensemble Pro, although I use these pretty rarely, and I do a fair bit of sound design and rhythm programming in Ableton Live and Reason which run as ReWire slaves behind Logic. Tons of plugins, as you'd expect, ranging from the amazing UAD stuff to more out-there stuff like Sinevibes and Audio Damage.

I do all my main composition, recording, and mixing inside Logic X on a Mac Pro cylinder, and output the results to as many as eight 5.1 stems which are routed via MADI over to a second Mac Pro running Pro Tools HD-Native, which is acting as a basic layback recorder. A third computer, a Mac Mini, is slaved to Logic via MTC and is running Video Slave software that I helped to develop. This takes the video playback load off of the main Logic machine and simplifies things a bit. I use MOTU 112d and 1248 AVB interfaces, along with a UAD Octo, on the Logic machine, and Avid MADI and SyncHD interfaces on the Pro Tools stem recorder. I repurposed a couple of older Mac Pro towers as orchestral slaves running Vienna Ensemble Pro, although I use these pretty rarely, and I do a fair bit of sound design and rhythm programming in Ableton Live and Reason which run as ReWire slaves behind Logic. Tons of plugins, as you'd expect, ranging from the amazing UAD stuff to more out-there stuff like Sinevibes and Audio Damage.

"For me, the essential gear is anything that can really put the hurt on a signal, like my UBK Fatso and lots of guitar pedals, especially the Electro-Harmonix stuff. Their SuperEgo, Freeze, POG2 and Pitch Fork are recent favorites, and I still get a lot of use out of my Zvex pedals, MXR/Dunlop Hendrix fuzz, and of course the green Line6 delays, both pedal and rack."