Simon Franglen – The Magnificent Seven (Original Motion Picture Soundtrack)
The music gear and equipment used by the artists, producers, engineers, and more involved in the making of the 2016 album The Magnificent Seven (Original Motion Picture Soundtrack).
Music from The Magnificent Seven (Original Motion Picture Soundtrack)
Artists on The Magnificent Seven (Original Motion Picture Soundtrack)
Gear Used On The Magnificent Seven (Original Motion Picture Soundtrack)
Explore the instruments, equipment, software, and production tools used in the making of Simon Franglen – The Magnificent Seven (Original Motion Picture Soundtrack) (2016). Click more on each item to see exactly how it was used.
Studio Monitors used by Simon Franglen on The Magnificent Seven (Original Motion Picture Soundtrack)
Neumann KH 420 3-Way Active Studio Monitor
Avg price: $5,377.71
Used to mix the The Magnificent Seven soundtrack, as stated in this October 20, 2016 Audio Media International article.
We looked at the options and decided, having built guerrilla studios in the past, that mixing at home was possible. There we used Neumann KH420 mid-fields, each sitting on top of Neumann KH870 subwoofers for an amazing 7.1 rig combination. We then used KH310s for the sides and surrounds.
Avatar was the last film that we mixed in analogue as a crew but since then everything has been entirely in the box. I used an Avid C24 as a mix controller and was taking sounds that the live players were generating and manipulating them through Pro Tools. I used quite a lot of plug-ins, including [The Cargo Cult] Slapper for multi-channel delay and the VSM plug-ins, which I really like. We needed a bit of a contemporary sound so we also used a whole host of different reverb plug-ins along with delay and compression.
Avg price: $4,938.20
Used to mix the The Magnificent Seven soundtrack, as stated in this October 20, 2016 Audio Media International article.
We looked at the options and decided, having built guerrilla studios in the past, that mixing at home was possible. There we used Neumann KH420 mid-fields, each sitting on top of Neumann KH870 subwoofers for an amazing 7.1 rig combination. We then used KH310s for the sides and surrounds.
Avatar was the last film that we mixed in analogue as a crew but since then everything has been entirely in the box. I used an Avid C24 as a mix controller and was taking sounds that the live players were generating and manipulating them through Pro Tools. I used quite a lot of plug-ins, including [The Cargo Cult] Slapper for multi-channel delay and the VSM plug-ins, which I really like. We needed a bit of a contemporary sound so we also used a whole host of different reverb plug-ins along with delay and compression.
Avg price: $2,786.08
Used to mix the The Magnificent Seven soundtrack, as stated in this October 20, 2016 Audio Media International article.
We looked at the options and decided, having built guerrilla studios in the past, that mixing at home was possible. There we used Neumann KH420 mid-fields, each sitting on top of Neumann KH870 subwoofers for an amazing 7.1 rig combination. We then used KH310s for the sides and surrounds.
Avatar was the last film that we mixed in analogue as a crew but since then everything has been entirely in the box. I used an Avid C24 as a mix controller and was taking sounds that the live players were generating and manipulating them through Pro Tools. I used quite a lot of plug-ins, including [The Cargo Cult] Slapper for multi-channel delay and the VSM plug-ins, which I really like. We needed a bit of a contemporary sound so we also used a whole host of different reverb plug-ins along with delay and compression.
Studio Equipment used by Simon Franglen on The Magnificent Seven (Original Motion Picture Soundtrack)
Avg price: $1,049.00
Used to mix the The Magnificent Seven soundtrack, as stated in this October 20, 2016 Audio Media International article.
We looked at the options and decided, having built guerrilla studios in the past, that mixing at home was possible. There we used Neumann KH420 mid-fields, each sitting on top of Neumann KH870 subwoofers for an amazing 7.1 rig combination. We then used KH310s for the sides and surrounds.
Avatar was the last film that we mixed in analogue as a crew but since then everything has been entirely in the box. I used an Avid C24 as a mix controller and was taking sounds that the live players were generating and manipulating them through Pro Tools. I used quite a lot of plug-ins, including [The Cargo Cult] Slapper for multi-channel delay and the VSM plug-ins, which I really like. We needed a bit of a contemporary sound so we also used a whole host of different reverb plug-ins along with delay and compression.
Software Plugins and VSTs used by Simon Franglen on The Magnificent Seven (Original Motion Picture Soundtrack)
Used to mix the The Magnificent Seven soundtrack, as stated in this October 20, 2016 Audio Media International article. Franglen is also quoted on the official product page and the plugin appears in this photo from this January 6, 2020 Avid interview.
Audio Media International, October 20, 2016
We looked at the options and decided, having built guerrilla studios in the past, that mixing at home was possible. There we used Neumann KH420 mid-fields, each sitting on top of Neumann KH870 subwoofers for an amazing 7.1 rig combination. We then used KH310s for the sides and surrounds.
Avatar was the last film that we mixed in analogue as a crew but since then everything has been entirely in the box. I used an Avid C24 as a mix controller and was taking sounds that the live players were generating and manipulating them through Pro Tools. I used quite a lot of plug-ins, including [The Cargo Cult] Slapper for multi-channel delay and the VSM plug-ins, which I really like. We needed a bit of a contemporary sound so we also used a whole host of different reverb plug-ins along with delay and compression.
The Cargo Cult Slapper product page
Slapper is immensely deep, exquisitely beautiful and sounds like it could go on forever. I find it to be the most musical echo I own and it's just as useful in stereo as in Atmos.