Mark Isham

"The keyboards I played on that were a Prophet 5 and an old Oberheim 4-voice. I think that was it. In fact, I've never amassed a lot of keyboards. I still use my Prophet 5. I've switched to an Oberheim Xpander as my main keyboard, because it's smaller, and I now have a sampler. I pick instruments that I feel have a pretty wide range and I learn them. In a way, I suppose I've had the same basic equipment set-up for 10 years."

"The keyboards I played on that were a Prophet 5 and an old Oberheim 4-voice. I think that was it. In fact, I've never amassed a lot of keyboards. I still use my Prophet 5. I've switched to an Oberheim Xpander as my main keyboard, because it's smaller, and I now have a sampler. I pick instruments that I feel have a pretty wide range and I learn them. In a way, I suppose I've had the same basic equipment set-up for 10 years."

"The keyboards I played on that were a Prophet 5 and an old Oberheim 4-voice. I think that was it. In fact, I've never amassed a lot of keyboards. I still use my Prophet 5. I've switched to an Oberheim Xpander as my main keyboard, because it's smaller, and I now have a sampler. I pick instruments that I feel have a pretty wide range and I learn them. In a way, I suppose I've had the same basic equipment set-up for 10 years."

Behind Mark’s writing computer is the infamous Wall of Synths Museum. The wall has undergone a recent transformation, and Mark has jumped oscillator first back into the world of analogue. He just took ownership of a new Buchla, a Verbos, a CMS, a CMS repaired Arp 2600, a Roger Arrick Dot Com system, and a few other modules as well. It’s truly a synth geek’s heaven, and growing every week!

In the second photo, a Korg Trinity can be seen in Mark Isham's studio. The caption reads "From this angle, Mark's old ARP 2600 modular synth can be seen, contrasting with his Korg Trinity Plus master keyboard."

Isham's 'orchestra pit' is, however, no slouch, with several Akais (S3200, CD3000, S1000, S1000PB and three S2000s), three Emu E4Xs, three Roland S760s, plus a selection of older units. "They each have their own characteristics — the Akais have a tremendous transient response, and for percussion they're just brilliant; the Rolands have a warmth about them. I also have so many because of the various different programmers that work in the different formats. Eric Persing of Spectrasonics pretty much works for Roland, and he's just so good that I had to have some Roland gear to take advantage of his wonderful work."

Not that Isham has entirely forsaken his 'synthetic' past — far from it, in fact. Even his beloved analogue collection — now expanded to incorporate an Oberheim Xpander, a Roland MKS80 with MPG80 programmer, and a rare Moog Model 12, one of those 'big modular Moogs' he once admired from afar — regularly gets a look in: "I just did an entire film score that used the 2600, MIDI'd via an old Roland MPU101 MIDI‑CV converter" says Isham, with a hint of bravado. Isham's studio also contains an extensive selection of more modern synths. Of his Korg Trinity Plus, Z1, Prophecy, Wavestation A/D and ubiquitous M1, Roland JD800, and newly acquired, knob‑laden Access Virus, the latter is currently proving most agreeable with the composer.

Not that Isham has entirely forsaken his 'synthetic' past — far from it, in fact. Even his beloved analogue collection — now expanded to incorporate an Oberheim Xpander, a Roland MKS80 with MPG80 programmer, and a rare Moog Model 12, one of those 'big modular Moogs' he once admired from afar — regularly gets a look in: "I just did an entire film score that used the 2600, MIDI'd via an old Roland MPU101 MIDI‑CV converter" says Isham, with a hint of bravado. Isham's studio also contains an extensive selection of more modern synths. Of his Korg Trinity Plus, Z1, Prophecy, Wavestation A/D and ubiquitous M1, Roland JD800, and newly acquired, knob‑laden Access Virus, the latter is currently proving most agreeable with the composer.

Not that Isham has entirely forsaken his 'synthetic' past — far from it, in fact. Even his beloved analogue collection — now expanded to incorporate an Oberheim Xpander, a Roland MKS80 with MPG80 programmer, and a rare Moog Model 12, one of those 'big modular Moogs' he once admired from afar — regularly gets a look in: "I just did an entire film score that used the 2600, MIDI'd via an old Roland MPU101 MIDI‑CV converter" says Isham, with a hint of bravado. Isham's studio also contains an extensive selection of more modern synths. Of his Korg Trinity Plus, Z1, Prophecy, Wavestation A/D and ubiquitous M1, Roland JD800, and newly acquired, knob‑laden Access Virus, the latter is currently proving most agreeable with the composer.

Not that Isham has entirely forsaken his 'synthetic' past — far from it, in fact. Even his beloved analogue collection — now expanded to incorporate an Oberheim Xpander, a Roland MKS80 with MPG80 programmer, and a rare Moog Model 12, one of those 'big modular Moogs' he once admired from afar — regularly gets a look in: "I just did an entire film score that used the 2600, MIDI'd via an old Roland MPU101 MIDI‑CV converter" says Isham, with a hint of bravado. Isham's studio also contains an extensive selection of more modern synths. Of his Korg Trinity Plus, Z1, Prophecy, Wavestation A/D and ubiquitous M1, Roland JD800, and newly acquired, knob‑laden Access Virus, the latter is currently proving most agreeable with the composer.

Not that Isham has entirely forsaken his 'synthetic' past — far from it, in fact. Even his beloved analogue collection — now expanded to incorporate an Oberheim Xpander, a Roland MKS80 with MPG80 programmer, and a rare Moog Model 12, one of those 'big modular Moogs' he once admired from afar — regularly gets a look in: "I just did an entire film score that used the 2600, MIDI'd via an old Roland MPU101 MIDI‑CV converter" says Isham, with a hint of bravado. Isham's studio also contains an extensive selection of more modern synths. Of his Korg Trinity Plus, Z1, Prophecy, Wavestation A/D and ubiquitous M1, Roland JD800, and newly acquired, knob‑laden Access Virus, the latter is currently proving most agreeable with the composer.

Not that Isham has entirely forsaken his 'synthetic' past — far from it, in fact. Even his beloved analogue collection — now expanded to incorporate an Oberheim Xpander, a Roland MKS80 with MPG80 programmer, and a rare Moog Model 12, one of those 'big modular Moogs' he once admired from afar — regularly gets a look in: "I just did an entire film score that used the 2600, MIDI'd via an old Roland MPU101 MIDI‑CV converter" says Isham, with a hint of bravado. Isham's studio also contains an extensive selection of more modern synths. Of his Korg Trinity Plus, Z1, Prophecy, Wavestation A/D and ubiquitous M1, Roland JD800, and newly acquired, knob‑laden Access Virus, the latter is currently proving most agreeable with the composer.

Not that Isham has entirely forsaken his 'synthetic' past — far from it, in fact. Even his beloved analogue collection — now expanded to incorporate an Oberheim Xpander, a Roland MKS80 with MPG80 programmer, and a rare Moog Model 12, one of those 'big modular Moogs' he once admired from afar — regularly gets a look in: "I just did an entire film score that used the 2600, MIDI'd via an old Roland MPU101 MIDI‑CV converter" says Isham, with a hint of bravado. Isham's studio also contains an extensive selection of more modern synths. Of his Korg Trinity Plus, Z1, Prophecy, Wavestation A/D and ubiquitous M1, Roland JD800, and newly acquired, knob‑laden Access Virus, the latter is currently proving most agreeable with the composer.