Composer Cribs: A Psychological Space Informs Flexible Film Scoring

There’s someone you should meet: film composer Juan Dussán.

A recent graduate of the NYU Screen Scoring graduate program, and participant at the ASCAP/Columbia Film Scoring Workshops, Dussán’s name is starting to get around. He recently completed the LA Film Conducting Intensive where he conducted a 37-piece orchestra at the Newman Scoring Stage under the tutelage of composers Conrad Pope and Bill Ross, and conductor Angel Velez.

We talked with Dussán about composing music for picture, and his beautiful home studio setup.

Juan Dussán’s studio puts equal emphasis on ergonomics and hospitality. (All photos: Juan Dussán)

Juan thanks for showing us your studio today! What were some of the initial thoughts when planning out the look and ergonomics for your stunning workspace?

Thank you for the kind words, Matt! The main purpose was to have a comfortable space to create music and to meet with film directors.

I studied analog photography and I’m always thinking about how to light things properly in order to improve the visuals. Psychologically, that makes me want to sit in this space and be creative, and it’s actually an extremely efficient setup in terms of workflow.

The gear is relatively simple and more than sufficient for my current needs, but it is the best quality that allows me to deliver music with professional standards. I’m always wondering about how I can make my setup more ergonomic and conducive for writing better music in less time, with the tools I have.

What are some parts of your studio that have evolved over time and that have made you a more productive composer?

Close up on Dussán’s sweet spot.

The software has been evolving a lot in the studio. I’m always testing new sample libraries, workflows, DAWs, and programs to see how they can improve my productivity — I try to be current with new technologies.

In particular, I find that having a template is incredibly helpful for my productivity. Mine is always changing to implement new sounds I want to include and minimize the ones that I find myself not using that much.

I use TouchOSC on my iPad as a digital control surface for my scoring template. It’s amazing because I can control so many functions from shortcuts to MIDI CC’s for dynamics, and expression easily. When I’m working on notation, I use Sibelius with Notation Express running on StreamDeck by Elgato, and that saves hours of time in music prep.

You’re quite an early adopter of new music technology having worked closely with companies including Korg and ROLI. Do you find using their products helps you stand out from other composers?

Absolutely. The ROLI instruments and sounds from their Equator plugin spark so much creativity in my writing. I use them everywhere in my music. Their 5D controllers like the Seaboard give me the chance to record very expressive synths and soundscapes that wouldn’t be possible on the piano — these types of sounds have become a big part of my musical voice.

On the other hand, the synth engines and presets in the Korg Kronos are incredibly useful and unique sounding, not to mention the smooth feel of the keys! I’ve been very fortunate to have collaborated with both companies on several projects and I honestly can’t wait to see what they come up with next.

Are there any tech limitations to your workflow right now, or things you’d like to see music companies offer to make composing even easier?

For sure! I think for remote recording and collaborations there’s still a lot of ground to cover.

I don’t think composing is any easier, though. The tools do help, but finding a great and original creative concept while staying true to the craft is the toughest part.

I’d love to think there are limitations naturally to any setup. My setup was made specifically for me to be comfortable writing music for indie films, advertising, and of course, orchestral stuff. I think that if I had to be writing larger size orchestral and electronic music I would be limited. Therefore, a more powerful main computer would make sense for me to upgrade to when I get the chance.

Can you take us on a walkthrough of your basic composition rig? What software and DAW do you use?

Komplete Kontrol, a ROLI Seaboard, and natural light invite inspiration.

My main DAW is Logic and I write music cues directly there in separate project files. I have a template with hundreds of tracks to have instant access to samples I regularly write with.

I use (synchronized video player) VideoSlave to run the picture and it syncs up to Logic, that’s also where I put together all the bounced cues so I can screen the film and see how the score works in context. All my sample libraries are stored in multiple external SSD’s — I use libraries from Spitfire Audio, CineSamples, Embertone, and other developers. As I mentioned before, my iPad running (modular control surface) Touchosc is essential to optimize my workflow. The cherry on top is my Native Instruments Komplete Kontrol S88 controller. I have music paper close to me in case I need it, and some Colombian coffee occasionally.

How would you describe your musical style?

One of the traits of being a film composer is to be able to have flexibility and work with a variety of styles and sizes, from intimate to lush.

I would say that my compositional strength is in thematic orchestral music infused with electronic textures and soundscapes. The resulting sound is an amalgamation of my influences from classical music, electronic music, and prog rock, just to name a few.

The piano is often featured in my scores and it’s definitely the primary instrument I use to communicate my ideas, most likely a result of many formative training years as a classical pianist.

I’ve had most experience writing dramatic scores that explore intimate themes with a touch of darkness and reality twists, and I would love to continue expanding into bigger narratives that involve world-building — I’d love to score a Marvel Studios property or to at least contribute to it at some point!

What music-to-picture projects do you have coming up?

I just finished scoring two independent short films: “Peeking” directed by Wells Watson Jr. and “Mazel Tov” directed by Eli Zuzovsky. Both had very different themes and scoring styles, one almost entirely electronic and dark in tone, and the other one acoustic with coming-of-age vibes. I’m very excited for their festival run!

Juan Dussán’s musical journey continues with his latest album, “Voyage.”

There are also some upcoming releases that I had the fortune to co-compose with my colleague and business partner Alex Wakim – we have a company that focuses on sonic storytelling for luxury brands called Dekatu Scoring and we’ve been working with Air Company in some of their upcoming advertising campaigns for their carbon-negative vodka.

Tell us about your most recent album, Voyage.

Voyage was a very personal instrumental filmic album that I wrote, recorded and released during the 2020 pandemic.

I wanted to put together a set of pieces that reflected my musical journey up to that moment, making impressions of different styles of music that have influenced me, such as film music – both orchestral and electronic, prog rock, celtic music, and more. It was recorded remotely by many of my friends who are incredible musicians.

The album represents a very important part of my career. It’s part of the foundation of my musical voice.

— Matthew Wang is an LA-based guitarist, producer, songwriter, film composer, and SonicScoop contributor.

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