Jack Patterson

Jack Patterson is seen using the software version of the Korg Polysix at 4.19, and he says at 4.03, "It's layered up with like a Polysix.".

Although he owns various vintage synths including a Roland Juno 106 and SH09, Patterson tends to just use his Yamaha upright piano and Wurlitzer electric piano during the writing process, with soft synths for bass parts and pads, his favourite being U-he’s Diva. “It’s kind of like a Frankenstein of synths,” he says. “You can just pick an oscillator, and it doesn’t say specifically what it is, but you can tell by the graphic what it’s supposed to be replicating. So you can get an oscillator from something that looks very much like a Juno 60 and then a filter from something that looks very much like a Minimoog and take the best elements of certain things and build stuff. It’s really cool.”

In this interview, Jack Patterson says "Oh, and melodyne on absolutely everything!!".

The item can be seen 2:51 into this video.

This plugin can be seen at 5:09 in this video

Can be clearly seen at 6:38

A lot of Grace Chatto’s cello parts are recorded in his room using either a Neumann U87 or, more often, a Neumann TLM103. “It’s really bright and kind of just seems to work on everything,” says Patterson. “The U87 has got its own sound, but I kind of don’t like that. I think a lot of our aesthetic is just kind of crystal clarity and super no-noise.”

A lot of Grace Chatto’s cello parts are recorded in his room using either a Neumann U87 or, more often, a Neumann TLM103. “It’s really bright and kind of just seems to work on everything,” says Patterson. “The U87 has got its own sound, but I kind of don’t like that. I think a lot of our aesthetic is just kind of crystal clarity and super no-noise.”

Although he owns various vintage synths including a Roland Juno 106 and SH09, Patterson tends to just use his Yamaha upright piano and Wurlitzer electric piano during the writing process, with soft synths for bass parts and pads, his favourite being U-he’s Diva. “It’s kind of like a Frankenstein of synths,” he says. “You can just pick an oscillator, and it doesn’t say specifically what it is, but you can tell by the graphic what it’s supposed to be replicating. So you can get an oscillator from something that looks very much like a Juno 60 and then a filter from something that looks very much like a Minimoog and take the best elements of certain things and build stuff. It’s really cool.”

In this interview, Jack Patterson states "I played it in on a Korg padKontrol", when referring to the synth line of Clean Bandit's track "Mozart's House".

In a BBC Radio 1 Live Lounge session, Jack Patterson of Clean Bandit plays the Akai Professional EWI USB, showcasing its capabilities during their cover of Jungle's "Busy Earnin'."

The item can be seen 42:12 into this video.

The item can be seen 6:57 into this video.

The item can be seen 7:49 into this video.

He is playing a Roland-88 in this picture.

Jack Patterson uses Ableton Live, as evidenced by a post from djcuervoreyes on Instagram, where Patterson is seen working on a track idea.

At 3.36, Jack is seen using an Ableton Push in combination with Ableton Live. There is also a caption on screen describing Ableton Push.

Valhalla's plugin can be seen at 2:45 in this video.

Can be seen at 7:20

Can be seen at 7:52

Can be seen at 8:32

Mentioned by mix engineer Mark Ralph in this November 2018 Sound on Sound interview about the production of "Solo".

“The Intro Strings group has the XLN Audio RC20 Retro Color, which is a little find of Jack’s."

Recently, Patterson added a Tiptop Audio Z-DSP Eurorack module to his setup, after he found out that you can fit them with cartridges featuring Valhalla’s Shimmer and Halls Of Valhalla. He plans on using it more in his future sessions. “It’ll be so nice to be able to have actual control of all those parameters that I love messing around with in there,” he says, “but in hardware.”

Monitoring-wise, Patterson uses a pair of Dynaudio BM15s matched with a Behringer K10S sub, and tends to balance on a pair of trusty Yamaha NS10s. “I’ve started to rely on them now ’cause I’m working in so many different places,” he explains. “NS10s are getting more and more difficult to get a hold of, so I’ve got an eBay alert for when they come up. If you can get it sounding good on them, you’re laughing. I know that’s obviously like a trope of recording technology, but it’s true. What I find more useful is they’re everywhere. I’m doing a lot of stuff in LA and if the studio have got a pair, you can listen to them and you know the sound.”

Monitoring-wise, Patterson uses a pair of Dynaudio BM15s matched with a Behringer K10S sub, and tends to balance on a pair of trusty Yamaha NS10s. “I’ve started to rely on them now ’cause I’m working in so many different places,” he explains. “NS10s are getting more and more difficult to get a hold of, so I’ve got an eBay alert for when they come up. If you can get it sounding good on them, you’re laughing. I know that’s obviously like a trope of recording technology, but it’s true. What I find more useful is they’re everywhere. I’m doing a lot of stuff in LA and if the studio have got a pair, you can listen to them and you know the sound.”

Monitoring-wise, Patterson uses a pair of Dynaudio BM15s matched with a Behringer K10S sub, and tends to balance on a pair of trusty Yamaha NS10s. “I’ve started to rely on them now ’cause I’m working in so many different places,” he explains. “NS10s are getting more and more difficult to get a hold of, so I’ve got an eBay alert for when they come up. If you can get it sounding good on them, you’re laughing. I know that’s obviously like a trope of recording technology, but it’s true. What I find more useful is they’re everywhere. I’m doing a lot of stuff in LA and if the studio have got a pair, you can listen to them and you know the sound.”

At 2:08 Jack has Pro tools open on his computer

In the making of the song "Drive" by Clean Bandit featuring Topic and Wes Nelson, Jack Patterson uses the Soundtoys Little AlterBoy plugin. In the video "Clean Bandit & Topic – The Making Of Drive," he demonstrates linking pitch and formant and turning the vocals down by -12 at 6:02.