Paul Robb

"The heart of my studio is an IBM AT clone, which I usually run Voyetra Sequencer Plus software on", he says, "and then I have modules - I don't have any big old keyboard synths any more. I use a Casio FZ10M sampler, which sounds great, but it's very strange to use. I've just discovered that if you save a whole keyboard setup, you cannot just call up one sound from that to add it to another bank. You have to call up the whole bank. I'm sure there's a way to get around it, but the manual... One of the great features is that it does have editing facilities built in, so you don't need to buy a computer for that. But again, if I can't figure out how to use it, it's not going to be much help."

"There are some parts that are standard faux orchestral‑style film score — for which I made extensive use of the Peter Siedlaczek orchestra disks and the older ProSonus orchestra library — but other parts were a little less conventional," explains Robb. "There was a disco scene, for example, which I actually used a Think Tank track for, and a few techno sections where I was free to use more of my synth arsenal. The worst part was that some of the cues were supposed to sound deliberately cheesy, which isn't easy when you fancy yourself as a composer, to take that sort of direction. I'd be saying 'Yeah — but I don't want people to think that I actually compose like that!'"