Guy Sigsworth

"This is an East German instrument, made in the 1960s. The mechanism is like an African thumb piano — it's got plectra on the notes and little bars, so it's like a mechanical version of that." - Guy Sigsworth in the March 2001 issue of Sound On Sound magazine.

Credited on the song “Moratorium” on the Alanis Morissette album Flavors of Entanglement (2008): “Electronics [QY20], Noises [Booms], Piano [Prepared], Programmed By [Ghost Choir], Strings – Guy Sigsworth”

"When I was doing Let Go with Frou Frou, the whole bass sound on that song was heavily processed through MaxxBass. It has this dinky little preset called PC Laptop to try and make your bass sound like it's going to sound good on really weedy little speakers." - at 16:30 in the Waves webinar with Guy Sigsworth

"I think because they are ultimately strings out of a box... we've used a lot of the more retro styling things to just give them a bit more feel so they're not so painfully clean. I find that the V Series is really good for that, it's excellent." - at 12:04 in the Waves webinar with Guy Sigsworth

"That Danelectro amp is great. For the money it's amazing. I think it's about 80 quid or something. It looks great, that's why people buy it. I bought it purely for the looks. I've discovered, actually, that that's a very good principle: ignore the spec and buy it on what it looks like." - from the March 2001 issue of Sound On Sound magazine

One of the joys of modern record-making is that you need very little to get going. We had a MacBook Pro and my favourite monitors, the Dynaudio Air 6 monitors, and Alanis' favourite microphone, the AKG C12.

From the Sound On Sound interview with Guy Sigsworth about the making of Alanis Morissette's album Havoc And Bright Lights

From 2:30 in the video:

I just love them. I've tried lots of brands of speakers and there are lots of great ones, but for me, the Air 6 suits me perfectly.

"Also notice that I'm using the S1 Imager. I love the Imager. I just can't get enough of it, because I always want things to have that kind of out-of-the-loudspeakers sound." - at 8:54 in the Waves webinar with Guy Sigsworth

"I think Q10 is the first Waves plugin I fell in love with. It's got really extreme notch filtering. There's an old trick I developed where I notch out frequencies from white noise until it becomes harmonic." - at 12:58 in the Waves webinar with Guy Sigsworth.

"If we look at the snare drum, we've sent it into a reverb... RVerb, yeah. And then we deliberately create a modern take on an 80s drum sound, where we're deliberately cutting off the return very abruptly in the verses, and then we make it slightly longer in the choruses." - at 9:45 in the Waves webinar with Guy Sigsworth

"I first got a Roland sampler, an S330, and even when I did Seal's first album, a lot of the sounds people think were synths were samples that I was processing with filters and stuff." - from March 2001 issue of Sound On Sound magazine.

"I like the Nord Lead. When I was working with Lamb, they had one, and I found it very easy to get things we would react to really quickly." - Guy Sigsworth quoted in the March 2001 issue of Sound On Sound.

When asked if he still uses hardware synths or if he has moved on to software synths, we see a glimpse of NI Massive on screen at 35:42.

When asked if he still uses hardware synths or if he has moved on to software synths, we see a glimpse of Omnisphere on screen at 35:50.

Mentioned under the official H-Comp product page.

“My new favorite compressor. Why hasn't anyone ever thought before of having a wet/dry control, or of release times in musical values?”

"Waves have brought out their recreation of the Aphex Aural Exciter, and there's something about that that's really really special. It can just add harmonic energy in just that right kind of way." - at 16:59 at the Waves webinar with Guy Sigsworth

In response to a question "Do you have a favorite mixbus compressor or limiter?", Cytomic's The Glue makes a sneaky appearance onscreen around 22:11, during a webinar that was meant to be about Waves plugins.

"We're doing a bit of EQ'ng there with the R EQ, nothing too radical." - at 6:12 in the Waves webinar with Guy Sigsworth.

"I'm very very fond of in SuperTap that you can clock the modulation. If you create detuning delays using the clocked modulation, you get that kind of spread that synths need. There's that kind of pulsing quality that gives it a kind of modern edge." - at 7:42 in the Waves webinar with Guy Sigsworth

"Just a limiter... And a limiter, because we've pulled so much out of it, we need to help its volume." - the MV2 appears on screen around 14:16 in the Waves webinar with Guy Sigsworth

"I love MondoMod, I'd recommend you get into that one. If you use delays on that you can get this kind of smearing detuning effect that always makes me think of stuff like My Bloody Valentine, which I'm a huge fan of." - at 15:45 in the Waves webinar with Guy Sigsworth.

"I bought a VP9000 and I've been a little bit disappointed, because I had this idea from the hype that they might have made audio completely elastic, which is what I want it to be, but it isn't quite there yet... One thing I will say for it, though, is that it's got great effects." - from March 2001 issue of Sound On Sound magazine.

Guy Sigsworth discusses his use of Melodyne in this interview with Celemony Software. At 5:26 you can see on screen that he's using the Melodyne Editor edition.

At 2:13 in the video with Celemony, there is an SM58 lying on top of the Dynaudio Air 6 studio monitor in his production room on the left of screen.

At 2:32 in the video, you can see a Mackie Big Knob Studio Command System on Guy Sigsworth's desk near the bottom of the screen.

At 5:58 in the video, you can see an Avalon VT-737sp in the rackmount in the background, just behind Chris Elms.

"In 2007, Sigsworth produced Alanis Morissette's album Flavors of Entanglement. There he made use of Pianoteq in the bonus track Madness where he created an acoustic piano tone, but with a discreet, tucked in, Wurlitzer-like softness."

Electronic Musician lists a Sony C800G microphone as part of Guy Sigsworth's kit list at the end of the article.

"What I like about Session Strings is the basic string tone. You won't need to do any serious eq, the level of vibrato is also just right for modern pop production. And the glissando patches are fun - pure Studio 54 disco. Session Strings works particularly well where you need string flavours to enhance a pop, rock or dance arrangement." Guy Sigsworth quoted on the Native Instruments Session Strings webpage.

"In cases where we wanted to make the drums sound like a real drummer, we went for [Toontrack] Superior Drummer, [XLN] Addictive Drums and Steven Slate Drums.” - Guy Sigsworth quoted in Sound On Sound, October 2012, talking about the initial production of Alanis Morissette's album "Havoc And Bright Lights".