Jon Hopkins

In this photo taken from an xlr8r article, you can see John Hopkin's Roland RE-501 Chorus Echo.

Throughout this Jon Hopkins video, his Livid CNTRL:R can be seen.

Jon Hopkins comments on this Facebook post that he "thinks" he uses an h4n zoom field recorder.

In this video Jon Hopkins in using a Kaoss Pad 3 (three actually)

Appears at 1:52 on Jon's desk in the video

2:10 in the video, on Jon's desk

"I've got this Aphex Aural Exciter"

"I've got an old Eventide DSP 4000"

"I've got an Apogee ensemble, which is how I record all the live stuff"

"I use a pre-amp Heritage Audio DMA-73 dual microphone to record the piano."

Seen in the picture.

Seen using a Keylab in Pitchfork live performance

I'm lucky that the people who helped set up my studio are experts in that stuff. I use the Focusrite Clarett interface but I don't know much about it.

Jon Hopkins talks about how he uses Sound Forge along with Logic Pro to create his music.

I don't have anything that allows you to actually place the sound. I still use a lot of Audio Ease Altiverb, which has hundreds of impulse responses of actual spaces.

You can create reverb-like sounds with Soundtoys EchoBoy because you've got control over diffusion as well as the delays.

Waves' TrueVerb and Renaissance Reverb sound a little bit rubbish, by which I mean they're not really highly useable. They don't sound super glossy, they sound a bit older, like a Lexicon or something. Occasionally frequencies bounce out that you wouldn't get in an expensive new reverb, and sometimes I really want that. Renaissance Reverb in particular with a very long decay can sound amazing on a piano, very wooden and real.

Waves' TrueVerb and Renaissance Reverb sound a little bit rubbish, by which I mean they're not really highly useable. They don't sound super glossy, they sound a bit older, like a Lexicon or something. Occasionally frequencies bounce out that you wouldn't get in an expensive new reverb, and sometimes I really want that. Renaissance Reverb in particular with a very long decay can sound amazing on a piano, very wooden and real.

So the final sound is an Ableton vocoder mixed with the Elektron Analog Keys, then the treble comes from the reFX Nexus, which is a software synth

"I...have an old pair of Sennheiser HD-25 SPs, which I do find very useful"

In this photo taken from an xlr8r article, you can see John Hopkin's Focal Twin6 Be monitors.

In this article by MusicRadar interviewing Jon Hopkins about his studio, the Event logo can be clearly seen on a picture of his monitoring setup. It is much harder to see the "Tuned Reference 6" text at the base of the woofer, but only the TR6 had dual reflex ports on the front of the cabinet - both the TR5 and TR8 only had one - therefore the model pictures is in fact the TR6.

Jon Hopkins speaks about how workflow using both Logic and SoundForge

Says of his live sets "It’s an Ableton [Live] system at the core of it", and more recently has started using it to write: "[Logic is] like working in a very small courtyard, whereas Ableton is like this big massive playing field. It’s almost as if you can’t see the boundaries. If anything, it’s almost too much choice because almost anything you can imagine is possible. I’ve been using it to perform for years, but I’ve only learnt to create music with it in the past year and a half. You can go infinitely deep with it, it’s like a new instrument really."

In this photo taken from an xlr8r article, you can see John Hopkins MS-20, and states, "The MS-20 is all over this album. The lead single, 'Open Eye Signal', is only that, basically."

In this photo taken from an xlr8r article, you can see John Hopkin's Access Virus TI Snow.

In this photo taken from an xlr8r article, you can see John Hopkin's Korg Trinity, and says, "I use a Korg Trinity—which was the only synth on Insides and my previous albums—a lot."