Someone asked for more truth. OK. This is a letter from Greg Hunter, professional sound engineer, who worked with The Orb from 1990–1992. It was submitted to PRS in 2023 to clarify who actually created the music. This statement is unedited, in Greg’s own words.
Commentary on Greg Hunter’s Statement
Greg’s letter outlines the basic studio structure — and it matches my experience exactly. If anything, I’d say it gives Alex slightly more credit than I personally witnessed. He occasionally approached the mixing desk and tried to participate, often by mimicking what I was doing, but he wasn’t familiar with the gear and it usually disrupted the workflow. On many sessions, I didn’t let him near the desk. He may have adjusted the odd aux send once or twice, but it was minimal — more about wanting to “be seen” doing something than actually shaping the track, especially since by the time he got involved, everything had already been built and set up.
Greg didn’t create all the effects, but the ones he did were always excellent — and we collaborated on a lot of that work. On U.F.Orb, Greg was a major creative force on the mixing front and absolutely nailed the effects side, possibly downplaying his role in the EQ’ing and balancing side on that. In the Satellite Serenade mix, Alex’s only input was adding a David Attenborough sample, which he found funny because of the phrase “erecting mud huts.” That was the extent of his contribution.
That’s what we mean when we talk about authorship — not just who was in the room, but who actually created the music, made the production decisions, built the track, and shaped the mix.
