About Ian Honeyman
Passionate about writing concert music, Ian Honeyman went to a classical conservatory to study composition. But after spending a few years, supporting himself as an engineer for National Public Radio, Ian got more and more interested in audio production. "I realized that radio wasn't right for me and decided to move to Los Angeles to pursue my fortune." In LA, Ian hung around every music studio that would have him, until he discovered film music.
"Film music seemed just perfect for me: the opportunity to work with orchestras and classical players, which I always loved since my conservatory days, combined with all the electronics and studio production that drew me to LA in the first place."
Since then, Ian has been lucky to work as a composer or arranger and programmer on films more or less back to back, often working with film composer Klaus Badelt. With him, he has worked on films like Poseidon, Constantine, 16 Blocks and Miami Vice. "Those films have intriguing possibilities for music; the biggest orchestras combined with cutting edge production, an opportunity to combine the big hollywood sound with music you might expect to hear on a pop album. Using the orchestra combined with synths, guitars and other production tools, we can get the 'larger than life' film sound."
Ian Honeyman and FabFilter
Ian takes a look at pretty much every new softsynth that comes out. "Because of how quickly I need to work, it's much easier to use software synths than hardware synths."
It was mostly Twin that got Ian interested in FabFilter plug-ins in the first place. "Most softsynths are clean and pretty, which is sometimes ok but most of the time you need some dirt to make the synth fit into the mix. Fabfilter Twin has some grunge to it that really makes it lie well."
"I've found that if I can't find a sound pretty quick it's faster to just move on to another synth. Ever since I got FabFilter Twin, I keep going back to it because I know I can get what I'm looking for quickly, without having to add a ton of plug-ins or spending hours tweaking."
"The thing I like most about FabFilter plug-ins, is the dirt and the thickness that so few soft synths have. I often use synths to double other elements in a track, even orchestral elements and to do this the synth has to blend really well. It's not that easy to do that with softsynths because most of them don't have the air, the thick and slightly dirty sound that you can get with hardware; they just sound a little tinny and stick out in the mix. However, FabFilter Twin has the warmth I'm usually looking for."
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