Tomethy Furse

"They don't take into account anything that's happened since then. I find today's modular stuff is built by people who are aware of what is possible with technology and I find that much more interesting. I love the Make Noise René sequencer. I've had a lot of sequencers before and they're cool but that's actually a good, playable instrument. Having a sequencer that you can actually sit there and noodle with is essential. I bought it maybe two years ago and now it's just totally indispensable, especially for messing about with the sounds."

"I also used a bunch of different modules as well as the René. I've got lots of Intellijel modules, and I put a lot of parts through the Korgasmatron for shaping and stereo filtering or phasing effects. I also use both my Prophets, the 5 and the 8, just because they're the best pad machines out there. They're so rich. I use the [Roland] Juno and the [Korg] MS20s a lot"

"You can just see the Elektron Analog Rytm, which is an astounding groove box. I really love Elektron gear – the work flow is so smooth. Never underestimate convenience when getting ideas out."

In the photo from BlogSpot, Tomethy Furse is pictured playing a Fender Mustang Bass.

"I love the Vox Continental V by Arturia. It's definately that Vox sound but with so much more plus it won't fall apart like my Vox's do."

Listed on dolphin music, Main keyboardist Tom Furse is said to have an extensive collection of vintage analog synths. Previously, they used to have combo organs onstage, such as the Roland VK-8

Main keyboardist Tom Furse is said to have an extensive collection of vintage analog synths. Previously, they used to have combo organs onstage, such as the Roland VK-8 , a Nord organ and Hammond XB-2

The Horrors are well-known users of Ableton Live . Tom Furse, the synth man, told Ableton:

"A running joke in our band is that I always seem to have my headphones on; that's because I'm always using Live. When I have to work with other engineers and programs the requests I make are often met with a quizzical look, and we always end up going back to Live eventually for something. Its integrated pitch-shifting and time stretching features are second to none and its ease of use and streamlining mean it's always very easy to get your ideas down quickly. It offers new sound possibilities and is constantly offering up new ways of working with sound."

"I also used a bunch of different modules as well as the René. I've got lots of Intellijel modules, and I put a lot of parts through the Korgasmatron for shaping and stereo filtering or phasing effects. I also use both my Prophets, the 5 and the 8, just because they're the best pad machines out there. They're so rich."

"I also used a bunch of different modules as well as the René. I've got lots of Intellijel modules, and I put a lot of parts through the Korgasmatron for shaping and stereo filtering or phasing effects. I also use both my Prophets, the 5 and the 8, just because they're the best pad machines out there. They're so rich. I use the [Roland] Juno and the [Korg] MS20s a lot, and I used the Siel Orchestra quite a bit."

"I also used a bunch of different modules as well as the René. I've got lots of Intellijel modules, and I put a lot of parts through the Korgasmatron for shaping and stereo filtering or phasing effects. I also use both my Prophets, the 5 and the 8, just because they're the best pad machines out there. They're so rich. I use the [Roland] Juno and the [Korg] MS20s a lot, and I used the Siel Orchestra quite a bit and my [Yamaha] CS30s. I use everything. I just kind of sit there and everything's in arm's reach. I have a little bit of a preference towards the more recent stuff, but seeing as everything's there, I will use it."

"I'll get the performance down and then I'll have it MIDI'd up or just go around sending it to stuff and seeing what sounds best and what sounds cool. I've also got all kinds of effects: phasers and delays. [Eventide's] Pitch Factor was really, really useful. "

"Modulars are an endless source of inspiration and intrigue. I’ve refined my system a lot over the last few years and now it can do so many different things. I always turn to it to throw up something unexpected, but it’s like a duet – you manipulate it but it throws out almost as much as you put in. The Make Noise Erbe-Verb is a new favourite module. Many of the most exciting things happening in the modular world are digital and I can’t wait to see what the future holds for the format."

In a studio tour with Attack Magazine, Tom Furse says, "What can I say that hasn’t already be said? I wish mine had MIDI though, because I’ve been using James Holden’s Humanisers a lot recently and my 808 doesn’t talk to the computer. I did record all the sounds to 1/4” tape though and have used those sounds on projects, so it’s getting on there one way or another."

Through his love for analogue synthesizers and after seeing various reviews, Tom’s attention soon turned to the Novation Bass Station II. The feature that immediately stuck out for him was the power over USB - “there’s something so great about just having one cable. You can plug in, and it works great as a synth and a controller as well, so it’s a great all-in-one controller mono-synth.”

“Also I thought the filters sound really great. There are some weird, very musical resonances coming out which I haven’t really heard in other filters before. And also the fact that it felt very flexible, in that it can be quite sweet sounding or very aggressive very quickly. That’s something I haven’t really seen in a lot of synths. I can get really nasty and aggressive if I want to, all within the synth, and not having to drive it through other stuff, so that’s pretty cool."

Furse can be seen playing a Danelectro Longhorn Bass in this photo.

"I use the DSI Prophet 08 live and that definately has its own charms, but the Prophet-5 is pure muscle-huge, huge sound."