Since defining grindcore with Napalm Death when he was only 15, Justin Broadrick has made a career out of destroying and rebuilding the rules of heavy music. Best known for his role in the seminal metal band Godflesh, Broadrick's many aliases mask a discography of genre-spanning experimentation. His work with Kevin Martin (a.k.a. The Bug) as Techno Animal predates the half-step pacing of dubstep; solo aliases like Tech Level 2 and Final explore everything from drum & bass to ambient drone.

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Broadrick's newest project, Jesu, continues with the singular vision that has always fueled his best work. Heavily layered and massively epic, albums like Jesu's Conqueror are rooted in rock, but use few of the traditional tricks of the trade. In fact, Broadrick's technique owes more to drum & bass and electronic music than anything rock music purists would ever try. XLR8R: Why did you use a drum machine with Godflesh? Justin Broadrick: I was in this band Head of David, where I was drumming, so by the time we formed Godflesh, I had a very clear idea of the type of beats I wanted to hear. And the beats I wanted to hear would take four arms, you know what I mean? I was just obsessed with making the sound as massive as possible.

And when Godflesh was formed in '88, it was after some of my favorite hip-hop records of all time came out: Eric B. And Rakim's Paid in Full and the first two Public Enemy albums. I wanted beats that sounded like that, but I knew a drummer wasn't gonna pull it off. The new Jesu album sounds massive. How did you do it? All the stuff I learned from producing drum & bass as Tech Level 2 I've applied to Jesu.

Everything was so reprocessed against each other; two of the same kicks, reprocessed back in and out. It's the same concept of layering in drum & bass–filling in a certain dynamic with different breakbeats. So you're re-sampling a lot of material? I really swear by putting things into other things, into other things, and so on. Running a sound from Native Instruments Kontakt out to my Avalon 737 pre-amp /compressor/EQ unit, and back in again. So many fucking layers of stuff. You know, some of the source material of these sounds are just crap.

I've got a project open right now here in Logic, and nothing is the original source. Considering all the processing you do, how do you feel about playing live as Jesu? From the most basic drum machines up to a G5, I've had fucking millions of crashes in every group. When Godflesh first came to the States, we had this little Alesis HR-16 drum machine, and we had to use this American power transformer.

We came up on stage with this big triumphant announcement, 'GODFLESH FROM ENGLAND,' just full of metal kids screaming; they didn't know what the fuck was going on. So we literally walked on–kids going mental–pressed play on the drum machine, and it blew up. We had to buy a new one and reprogram all the songs on it! But I haven't had too many problems with Jesu–touch wood. These Mac laptops have just gotten so much more reliable, and I keep telling people. That I feel like I can finally make music without having to reboot the computer every five minutes.

Drum & bass has informed so much of your production style. Have you kept up with scenes like dubstep? It's a strange thing for me, that whole movement. When it was garage, I loved it at first: the whole slowed-down drum & bass element of it.

But now it's splintered into so many things, and I'm more interested in the dubstep end of it. Are you familiar with a guy called Milanese? I just heard him a few weeks ago and I thought, 'Fuckin' hell! This is stuff Kevin Martin and I were touching on years ago.' I really liked it a lot.

It was actually a relief for me to hear something like that in dance music. Milanese might not even be aware of our stuff, but it was nice to hear something running in that heritage.

Realpiano is using Prism Sound's Orpheus audio interface system to offer clients the unique sound of the very best quality grand piano, simply by sending an email. Realpiano is the brainchild of Jonathan Dodd, who decided to create an alternative to the usual ways of accessing grand pianos: either travelling to them, or hiring them in (both at considerable expense). Instead, Realpiano offers clients several options.

Some visit the company's studio for a session, taking away audio and MIDI files of their work. Many, however, choose simply to send a MIDI file as an email attachment, having recorded it on their keyboard, anywhere in the world. Dodd uses Yamaha's Mk4-Pro Disklavier system in a hand-crafted DS6 grand piano sourced by Charles Bozon, UK Director for Yamaha. 'From the minute it was brought in, the difference was obvious – it had such presence,' says Dodd. When he receives a client's audio file, he first checks it for potential issues with velocities and sustain pedal movement.

The MIDI file is then loaded into the Disklavier and the performance recorded with Brauner mics, directly into the Prism Sound's Orpheus system. At the end, the client receives a clean, 24-bit recording of their own piece. Prism Sound's Orpheus lies at the very heart of Realpiano's recording path, which runs directly into the Orpheus channels one and two, Dodd explains. 'I use the built-in mic pre-amps included on the first four channels, which are simply brilliant. The Orpheus is a wonderful piece of kit, not only robust but easy to use, due to its proprietary app, which I have installed on my Mac.

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You can set input levels, phantom power, roll off, and there is a neat limiter facility on the four mic pre-inputs, called OverKiller. There’s also a built-in mixer and amongst other things, it can read any sample rate and play back different sample rates simultaneously. The Orpheus focus is on high-quality audio and digital conversion: it does that very well.' Dodd chose Prism Sound's Orpheus because it suited his needs perfectly. 'It has a strong reputation in pro audio and is respected around the world, as well as being made in England,' he says. 'My recording path is very much kept to a minimum; clients get ultra-high quality DS6 grand piano in whatever sample rate 24-bit audio file they want, with a very pure result.'

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Ends- About Prism Sound Founded in 1987, Prism Sound manufacture high-quality professional digital audio hardware and software for music and sound production for the music, film, television, radio and multi-media markets and a range of specialized measurement equipment used in audio equipment development, manufacturing, system building and maintenance. The company's product range includes a range of audio interfaces covering applications from desktop or mobile recording & production to major studio facilities; Prism Sound also produces the SADIE audio production workstation software used by major national broadcasters such as the BBC, as well as many of the world's leading mastering houses and classical or live music recording engineers. Prism Sound measurement equipment is used to measure the performance of either audio electronic devices or electroacoustic devices and is well established in major manufacturing sectors such as automotive electronics, headphones and headsets as well as professional audio.