I used the old Juno synth a lot in this score. This was a completely new tool for me.
My friend has an original Juno-60 and my other friend has the remake of 106. I used these two a lot in this score.
With the original Juno-60, the lack of midi and having the physical knobs and faders encouraged me to create leads and textures, that I would have not done with a VST. Using the remake, Ju-06, gave me the option of using midi, which encouraged me to create rigid rhythmic patterns in a style that hints towards a machine-like control.
These synths are my new favourites as they are so flexible and varied, yet retains that very unique and well known sound. I was able to create a good and solid basis for several different sounds that I could transform endlessly with anything, without compromising the quality. That is also hard to do with VST’s.
I modified the sounds in various ways: with Ableton Live 9’s Clip view, used it in a plugin chain and a hardware effect chain, pitched it up and down and made multi-instruments of it. A lot of the time it complemented another sound that needed support.
In this video I’m also demonstrating the Bricasti M7 reverb. This reverb is quite a classic, used I high end studios such as Abbey Road, is like magic. It can be stacked up and used to create complex dimensions, that is much harder to try to create with plugins. Score mixer Alan Myerson apparently owns six of them and uses all of them when mixing (Film Mixing, 2016). I used it to make the tiniest sounds embody the scale of a mountain.
Film Mixing (2016). Film Score mixing with Alan Meyerson. [online] Film Mixing and Sound design. Available at: https://film-mixing.com/2016/07/28/film-score-mixing-with-alan-meyerson/ [Accessed 10 Apr 2017].