Gareth Jones (producer)

A Mac Pro tower can be seen in Gareth Jones' studio.

Technics SL1210 MKII is included in the list of Gareth Jones' gear.

Producer Gareth Jones lists the Arturia BeatStep Pro on his official website under his tools and controllers, indicating its role in his audio production setup.

Included in equipment list

Included in equipment list

Included in equipment list

Included in equipment list

Included in equipment list

Included in equipment list

Producer Gareth Jones lists the Novation Remote SL25 Compact among his tools on his website, indicating its role in his setup.

Included in equipment list

"I use my Culture Vulture Super 15 extensively in parallel and also Audio Kitchen TBT and several spring reverbs and modular delays."

"My work is very artist-driven and generally any originality is the artists' own, or a direct response to their songs and vision. Essentially I am helping them to tell their story. Not 'getting in the way' is a very important part of enabling a creative studio environment. Knowing when to do nothing, and press record. Alternatively, where appropriate, taking the time to assemble complex chains of equipment in search of a new sound, or to emulate a memory; often both on the same project. Always flowing. Flexible, reliable, intuitive great-sounding tools, that are fast to use, are a big part of this endeavor and, of course, this is where the UAD-1 scores highly."

Native Instruments Komplete is included in the list of software used by Gareth Jones.

"Obviously, the band needed to be involved,” says Jones, "and I needed their input, so it made budgetary sense for me and my assistant [James Aparicio] to go to Glasgow. I took my eight‑core Mac up to Scotland, loaded with plug-ins, and DSP — two UAD cards, TC Powercore X8, Waves APA 44M and Focusrite Liquid Mix — so apart from the nice analogue gear at the studio, I had my own arsenal of plug-ins. The Waves Studio Classic bundle and my UAD plug‑ins, together with the Liquid Mix, were all used all over the place for colour and dynamic control. I am also a big fan of the PSP plug‑ins. There were some big Linn speakers in the studio that I was not familiar with, but they seemed very useful. As always, I also took my trusty powered Dynaudio BM6As and Sennheiser HD650 headphones."

"Obviously, the band needed to be involved,” says Jones, "and I needed their input, so it made budgetary sense for me and my assistant [James Aparicio] to go to Glasgow. I took my eight‑core Mac up to Scotland, loaded with plug-ins, and DSP — two UAD cards, TC Powercore X8, Waves APA 44M and Focusrite Liquid Mix — so apart from the nice analogue gear at the studio, I had my own arsenal of plug-ins. The Waves Studio Classic bundle and my UAD plug‑ins, together with the Liquid Mix, were all used all over the place for colour and dynamic control. I am also a big fan of the PSP plug‑ins. There were some big Linn speakers in the studio that I was not familiar with, but they seemed very useful. As always, I also took my trusty powered Dynaudio BM6As and Sennheiser HD650 headphones."

"Obviously, the band needed to be involved,” says Jones, "and I needed their input, so it made budgetary sense for me and my assistant [James Aparicio] to go to Glasgow. I took my eight‑core Mac up to Scotland, loaded with plug-ins, and DSP — two UAD cards, TC Powercore X8, Waves APA 44M and Focusrite Liquid Mix — so apart from the nice analogue gear at the studio, I had my own arsenal of plug-ins. The Waves Studio Classic bundle and my UAD plug‑ins, together with the Liquid Mix, were all used all over the place for colour and dynamic control. I am also a big fan of the PSP plug‑ins. There were some big Linn speakers in the studio that I was not familiar with, but they seemed very useful. As always, I also took my trusty powered Dynaudio BM6As and Sennheiser HD650 headphones."

"Obviously, the band needed to be involved,” says Jones, "and I needed their input, so it made budgetary sense for me and my assistant [James Aparicio] to go to Glasgow. I took my eight‑core Mac up to Scotland, loaded with plug-ins, and DSP — two UAD cards, TC Powercore X8, Waves APA 44M and Focusrite Liquid Mix — so apart from the nice analogue gear at the studio, I had my own arsenal of plug-ins. The Waves Studio Classic bundle and my UAD plug‑ins, together with the Liquid Mix, were all used all over the place for colour and dynamic control. I am also a big fan of the PSP plug‑ins. There were some big Linn speakers in the studio that I was not familiar with, but they seemed very useful. As always, I also took my trusty powered Dynaudio BM6As and Sennheiser HD650 headphones.

"I have been mixing a lot 'in the box' recently, but when I saw the equipment at the Castle of Doom I made the decision to buy an Apogee Symphony PCI card for my Mac and a couple of X-Symphony cards to hook up to their Apogee DA16 converters. I also got an X-Symphony for the AD16, which allowed me to come 'out of the box', and I thoroughly enjoyed the experience. Summing was through the Euphonix board in the studio, and I set up a few compressors on aux sends so I could get some additional tones going. Two Distressors, two Urei 1176s, two Chandler Germaniums and two Dbx 160As were on eight auxes most of the time. I also used the API 2500 as a buss compressor. I found the Euphonix EQ quite useful as well.”

Quote from Sound on Sound on recording of "People are People" by Depeche Mode. ""I recorded the vocals with an AKG tube mic in the live room — it was only later that we started doing hand-held in the control room — and I was also using an ADR Compex Vocal Stressor at the time. Sadly, I sold that many years ago and I'd like to have it back now. At that stage, I was rather foolishly printing many effects to tape as well, and on 'People Are People' I think there was a bit of slap from the chorus echo. No plate reverb or anything — that would be added maybe later at the mix stage. As always, it was about making Dave comfortable, and we'd think nothing of saying, 'Okay, these effects sound great on Dave,' and because that's what went with the performance we'd put them on tape with the vocal. That's not something I would do now."