Alan Silvestri

From the Sample Logic Blog page: "Alan Silvestri to CINEMATIC KEYS Sample Logic has changed my perception of what can be done with the piano. While the scripting and design in CINEMATIC KEYS allows for limitless possibilities, it’s the quality of the recordings that blow me away. So many beautiful instruments were captured in great detail, not only being performed, but even destroyed! With the extensive range of sounds in this library, the piano can now be my orchestra, and Sample Logic has given me the keys to do it."

From the http://scoringsessions.com website: "In the booth, scoring mixer Dennis Sands expertly mixed the live synths (coming off of Silvestri’s Logic rig in real-time from one of the iso booths) with the orchestra."

From this post from his instagram account it's clear that there's this keyboard on his desk.

In a feature by The Irish News, Alan Silvestri is mentioned using the Focal CMS 40 studio monitors in his film scoring work.

In a 2015 article from The Irish News, Alan Silvestri is shown using the Focal SM9 Active Studio Monitor, highlighting its role in his film scoring work.

“I could be hitting 20 separate cuts in one scene. They’re all there in Cubase,” he says. “The markers would come over to Dorico, but they would be attached to SMPTE, and that wasn’t always going to work for me. When I start editing the music, if you don’t have the right version of the film and the timecodes adjusted, the markers are like on page 97 but the cue is only four bars long…”

Alan Silvestri clearly uses Dorico for his film scoring work, as shown in this video. At 3:36 in the video a "tall" time signature can be seen, which was first introduced in Dorico Pro 2 (the latest version), which proves that is the version he is using.

In this video,from 15:09 to 15:35 we can see that Silvestri used the Synclavier at least in Flight of the Navigator and Predator soundtracks.

Silvestri has always been an early adopter of technology, from his very first film score, Romancing the Stone (1984), which was among the first Hollywood scores to use Yamaha's iconic DX-7 and which required the use of two 24-track desks chained together to record the full ensemble. That first collaboration with Robert Zemeckis was followed by his first full orchestral film soundtrack, Back to the Future (1985), with its memorable and instantly recognisable main theme, and which heralded the arrival of an assured composer whose work in the years since has put him in the company of the greats, including John Williams, Jerry Goldsmith, James Horner, and others.

When the playback session finishes, Alan shows us his working space in the lounge directly above Studio 1's control room, where he has replicated as far as possible his home working environment so that he can work efficiently while on the road. He has an Apple iMac with two extra displays, monitor speakers behind, and a MIDI keyboard behind his computer keyboard. To the left of his workstation is a second MIDI keyboard, so that he can simply turn away from the displays and try out ideas on the keyboard.

In this Youtube video at 5:06, Alan Silvestri can be seen using Analog Strings.

In this Youtube video at 5:06, Alan Silvestri can be seen using Hybrid Keys.

In this Youtube video at 4:00, Alan Silvestri can be seen using Damage. The composer mentions it in the video

If the item appears in a video, mention the timestamp. "The Spealers can be seen at 3:57 into the video"

In the Native Instruments video titled "Alan Silvestri Breaks Down the Composing Workflow Behind his Blockbuster Scores," Alan Silvestri discusses using Vienna Ensemble Pro 7 at the 4:50 mark.

In a video by Native Instruments, composer Alan Silvestri discusses his composing workflow and features Ethno World 6. The plugin is shown at the 2:26 mark, highlighting its role in his process.