Martyn Ware

Included in this list of Martyn's Roland gear.

Martyn Ware is noted for using the Roland MC-4 MicroComposer, as highlighted in a tribute on KitMonsters to Roland’s founder.

Included in this list of Martyn's Roland gear.

Included in this list of Martyn's Roland gear.

Included in this list of Martyn's Roland gear.

Martyn Ware is featured on KitMonsters, where the Roland SH-101 is listed among the Roland gear he uses.

Included in this list of Martyn's Roland gear.

Martyn Ware is noted for using the Roland Juno-106, as highlighted in the KitMonsters article paying tribute to Roland's founder.

Included in this list of Martyn's Roland gear.

Included in this list of Martyn's Roland gear.

Martyn Ware is listed as using the Roland D-50 in a tribute article on KitMonsters, highlighting his connection to Roland's innovative synthesizers.

Included in this list of Martyn's Roland gear.

"I hardly ever use any outboard gear now. I've got an old Yamaha REV7 which I like and an Alesis Quadraverb, but everything else is a plug-in. I'm a big fan of Line 6's Amp Farm, and all the plug-ins which simulate the analogue world, funnily enough. This has given synthetic sounds a new lease of life. A synth can sound like something which has been miked up through a cabinet, for example. You can use so many multiple effects on the same sounds, and mutate sound sources so much, that I can't imagine ever going back to the way things were before. The snobbery about plug-ins is that so many dance records just use them for ear candy and don't really explore the possibilities, but they are the most sophisticated and creative thing to happen to modern music since the first synthesizers appeared. You can try things on Amp Farm which took hours to do with a mic and a cabinet.?"

"I hardly ever use any outboard gear now. I've got an old Yamaha REV7 which I like and an Alesis Quadraverb, but everything else is a plug-in. I'm a big fan of Line 6's Amp Farm, and all the plug-ins which simulate the analogue world, funnily enough. This has given synthetic sounds a new lease of life. A synth can sound like something which has been miked up through a cabinet, for example. You can use so many multiple effects on the same sounds, and mutate sound sources so much, that I can't imagine ever going back to the way things were before. The snobbery about plug-ins is that so many dance records just use them for ear candy and don't really explore the possibilities, but they are the most sophisticated and creative thing to happen to modern music since the first synthesizers appeared. You can try things on Amp Farm which took hours to do with a mic and a cabinet."

"I hardly ever use any outboard gear now. I've got an old Yamaha REV7 which I like and an Alesis Quadraverb, but everything else is a plug-in. I'm a big fan of Line 6's Amp Farm, and all the plug-ins which simulate the analogue world, funnily enough. This has given synthetic sounds a new lease of life. A synth can sound like something which has been miked up through a cabinet, for example. You can use so many multiple effects on the same sounds, and mutate sound sources so much, that I can't imagine ever going back to the way things were before. The snobbery about plug-ins is that so many dance records just use them for ear candy and don't really explore the possibilities, but they are the most sophisticated and creative thing to happen to modern music since the first synthesizers appeared. You can try things on Amp Farm which took hours to do with a mic and a cabinet."

In a user-uploaded photo on the Arturia website, Martyn Ware is shown using the Arturia Drumbrute Analog Drum Machine.

Martyn Ware uses the Arturia MiniLab, as evidenced by a photo uploaded to the Arturia website.

Instrument-wise, the S1000 inevitably features on the album, along with the EIII, and various other keyboards. A Mac II handles sequencing duties. "We've got a massive library for the EIII now, some great samples. We've spent 18 months sampling, so that's our main tool. We've also been using the Korg T3, and we've just got the new Roland D70, which is very good because it gives you much more of the analogue style live fader control, which is what you want. You don't want to read through manuals and alter every Partial — all that matters to the musician in the studio is that you can get the sound in your mind as quickly as possible.

Instrument-wise, the S1000 inevitably features on the album, along with the EIII, and various other keyboards. A Mac II handles sequencing duties. "We've got a massive library for the EIII now, some great samples. We've spent 18 months sampling, so that's our main tool. We've also been using the Korg T3, and we've just got the new Roland D70, which is very good because it gives you much more of the analogue style live fader control, which is what you want. You don't want to read through manuals and alter every Partial — all that matters to the musician in the studio is that you can get the sound in your mind as quickly as possible."

It is stated in the article that the Human League produced "travelogue" on a Trident Fleximix console