Martin Cooper

Progress, as they say, is progress. But curiously, the same fate nearly befell a much more recent piece of technology - the Roland Super Jupiter synth module. Luckily for the machine (and for the stage show, where the machine comes into its own in the capable hands of Martin Cooper), OMD found a way of keeping it under control, as it were, after a few hiccups.

Martin Cooper's rig consists of a Native Instruments Komplete Kontrol S88, a Native Instruments Komplete Audio 6 interface and a Macbook Pro.

Martin can be seen playing a Roland Jupiter 8 synthesizer in this video, at 1:25.

Martin is credited with "Roland SH2" in the liner notes for the album Junk Culture.

Martin is credited with "Prophet-5" in the liner notes for the album Junk Culture.

Martin is credited with "Fairlight CMI" in the liner notes for the album Junk Culture.

Martin is credited with "Emulator" in the liner notes for the album Junk Culture.

Martin can be seen playing an E-mu Emulator II sampling keyboard in this video, at 1:24.

"Martin Cooper’s set-up included Roland SH09 and SH2 monosynths for basslines and melodies plus a Vox Jaguar organ for chords."

"Martin Cooper’s set-up included Roland SH09 and SH2 monosynths for basslines and melodies plus a Vox Jaguar organ for chords."

Martin played a Fender Jaguar bass guitar, according to this article.

"We use a lot of Roland stuff. I only use a Fantom-X8 live, and so does Martin [Cooper, OMD’s second keyboardist]."

Martin Cooper's rig consists of a Native Instruments Komplete Kontrol S88, a Native Instruments Komplete Audio 6 interface and a Macbook Pro.

Martin Cooper's rig consists of a Native Instruments Komplete Kontrol S88, a Native Instruments Komplete Audio 6 interface and a Macbook Pro.

Martin Cooper can be seen playing a Yamaha DX7 from :31 to :35.

Martin Cooper used a Roland SH-1 synthesizer to create the soundtrack for the 1984 horror film "C.H.U.D.," as confirmed by a Rolling Stone article. The article includes a quote from Cooper himself in the liner notes of the official soundtrack release by Waxwork Records: “Recorded with an Emulator sampler 'borrowed' from OMD and a Roland SH1, the sound was home-brewed. 'David and I told [producer Andrew Bonime] we had to record the film in Liverpool with our own equipment, so the poor fella had to endure a number of trips out to the rough areas of the city suburbs, as the studio was situated on the fringes of a notorious housing estate,' said Cooper."