Josh Molen is a TV and film composer located outside Knoxville, TN. He began composing professionally in 2005. Since then he has had the opportunity to work on many high-profile projects, including composing music for TV shows like: Snapped (Oxygen), Sins and Secrets (I.D.), Homicide Hunter: Lt. Joe Kenda (I.D.), Modern Marvels (History Channel), Biography (Bio), and How Stuff Works (Discovery) to mention only a few. He also co-composed the score to The Clinton 12 directed by Keith McDaniel and narrated by James Earl Jones.
In 2011 he launched a boutique music library, The Tune Peddler, that has licensed music internationally for film, TV, video games, and online media. One client of note that features Josh’s music is the Fine Brothers’ REACT Channel with videos amassing well over 40 million collective hits on YouTube.
We chatted with Josh about how he’s using the Prophet 12.
Josh, what made you choose the Prophet 12?
“I was looking for the end-all/be-all of polysynths, and a couple of the analog ones caught my eye. But ultimately, the flexibility of the digital oscillators and Character section, the sweetness of the analog filter, and unlimited, almost modular architecture of the Prophet 12 seemed to be more open for exploring and getting very unique sounds.”
How are you using it?
“My Prophet gets a daily workout on everything from pads and textures to all out distorted, arpeggiated madness. I’ve been using it quite a bit on music I’ve been composing for two new series on the Investigation Discovery network as well as the theme for one of the shows. A good chunk of the music I compose is for true crime series, so I need a lot of variation for ambient and creepy textures. The Prophet 12 gives me exactly what I need for a cue with the twist of a few knobs.”
What’s one of your favorite things about it?
“It’s hard to pick a favorite thing, but I’d say it’s a tie between the analog distortion unit and the Character section. It takes the synth from nice and pristine to in-your-face, lo-fi, aggressive easily and with no need for extra outboard gear. I love being able to reach up to the distortion knob while recording a pad for instance, and just give it a little kick now and then to give it some character that sticks in a track.”
What does it give you that other synths might not?
“The Prophet 12 can cover more sonic territory than any other single synth I have. It would definitely be my desert island synth. I have a really great modular synth, tons of virtual instruments, and hardware synths and they’re perfect when you need “that thing” that they do. But when I need to get a great sound quickly or something that would be impossible to do on the other synths, without needing a few pedals and layering multiple synths together, I’m reaching for the Prophet 12.”
Any interesting Prophet 12 tricks or techniques you’d like to share?
“A really cool trick to getting a stereo patch I read on the DSI forums is to copy layer A to B. Then tweak B so it’s slightly different. Then go to the modulation matrix of layer B and assign dc to pan with a value of +127. Then do the same on layer A with a value of -127. Then turn on stack. Perfect for pads and big synth sounds.“
Check out Josh’s website here.
Check out Josh’s sound library here.
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