Mark Isham

"Pianos are always a big question. There seem to be new ones coming out all of the time, but the Synthogy Ivory is something we’ve used for quite awhile and has always done a good job. I believe the piano on The Secret Life of Bees demo was done on that. It certainly is a brilliant demo piano, it’s used all the time here!!! "

"I really like Rob Papen’s synthesisers. I used Predator in Mechanic, which is coming out next year. There’s a new record that I’m working on called Cover Art that has a bunch of Rob’s instruments on it. I used the Sample Logic Morphestra a lot on The Crazies as well as ProjectSAM’s Symphobia."

"I really like Rob Papen’s synthesisers. I used Predator in Mechanic, which is coming out next year. There’s a new record that I’m working on called Cover Art that has a bunch of Rob’s instruments on it. I used the Sample Logic Morphestra a lot on The Crazies as well as ProjectSAM’s Symphobia."

"I really like Rob Papen’s synthesisers. I used Predator in Mechanic, which is coming out next year. There’s a new record that I’m working on called Cover Art that has a bunch of Rob’s instruments on it. I used the Sample Logic Morphestra a lot on The Crazies as well as ProjectSAM’s Symphobia."

"I use the Toontrack EZdrummer quite a bit. I believe it was used quite extensively on The Women."

"Vir 2 – I like their stuff a lot, Electri6ity is a great one. That shows up on The Mechanic quite a bit. I really love the guitar samples from them. We have a ton of Zero-G synthesisers – all of those little menus of sounds and there’s always something to throw in [laughs] and make things interesting. "

Synthogy Ivory II Grand Pianos is included in list of products used by Mark Isham.

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."

"I've got two racks of DA88 — a 32‑track rack and a 16‑track rack, which is sort of configured for film mixing with timecode everywhere. It's a standard now in the film industry. We've also got a 24‑bit Digidesign Pro Tools system, but I'm the Pro Tools fan; Steve prefers tape. He's waiting for a hard‑disk system that he feels comfortable with. There's a couple he's interested in right now — Euphonix is coming up with one he's probably beta‑testing."

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."

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."

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."

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."

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."

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."

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."

Isham has a long‑standing working relationship with orchestrator/conductor Ken Kugler. Mark supplies Kugler with MIDI files of his compositions, and Kugler transforms these into a score. For Isham, having a sampled 'virtual' MIDI orchestra at his fingertips is a godsend — and Opcode's Studio Vision Pro, his compositional/sequencing software of choice, aids him by not permitting him to play outside the various orchestral instruments' real‑world ranges: "I'm sort of aware already," he jests, "but it's nice to have that built in — just to remind you that the bass clarinet doesn't have that note!"

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.

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.