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

"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

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.

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.

"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."

"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".

"Guy and I agree that [Native Instruments'] Guitar Rig 5 rules in the box! The Rammfire amp is super-heavy, and we love the really low detuned parts. Check the deep guitars on [Alanis Morissette's] 'Guardian'. " - Chris Elms in Sound On Sound, discussing the album Havoc And Bright Lights that he and Guy Sigsworth produced together.

"Guy and I agree that [Native Instruments'] Guitar Rig 5 rules in the box!" - Chris Elms in Sound On Sound, about the guitars he and Guy recorded for Alanis Morissette's album Havoc And Bright Lights.

At 12:03 we can see the V-EQ4 plugin on screen during Guy Sigsworth's Waves webinar.

Both MaxxBass and RBass are very very handy in your toolkit. I've used both a lot, actually.

At 16:20 in the Waves webinar with Guy Sigsworth

I love this particular plugin, Trans-X. It was pretty soggy without it, and this just brings the front... it's just more crisp, isn't it? More al dente.

at 10:53 in the Waves webinar with Guy Sigsworth

At 12:03 we can see the Waves V-Comp being used to process some in-the-box strings.

At 22:20 we can see a glimpse of the Waves L3 Ultramaximizer on Guy Sigsworth's master bus.

At 41:21 we get a brief glimpse of Waves H-Delay when discussing delay effects used on vocals.

I actually like the PuigTec quite a lot, I think those are really good... There's a certain kind of mid-range where most instruments can easily fight the vocal, and you can pull out the offending frequency on that... it's a very broad way, so it doesn't sound EQ'd.

At 46:28 in the Waves webinar with Guy Sigsworth

I also have the Arturia CS80 and quite enjoy that.

from the Sound On Sound interview with Guy Sigsworth, discussing the making of Alanis Morissette's album Havoc And Bright Lights

Other plug-ins we love are the Valhalla Shimmer, which can turn any sound into a thing of beauty.

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

"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". Addictive Drums v1 was the only version available at the time of the interview.