Scott Chesak

Scott Chesak is a Producer/Songwriter/Musician from Austin, Texas currently based in Los Angeles, CA. Recently, Scott worked with Panic! At The Disco on their platinum selling #1 album Pray for the Wicked. He produced and wrote the top 10 single “(F**k A) Silver Lining” and “The Overpass.”

His other production and writing credits include Weezer’s Grammy nominated White Album as well as many Film and TV soundtracks including Why Him? starring James Franco, Chicago Fire, and Toyota’s 2018 Winter Olympics campaign.

As a session keyboardist, guitarist, bassist, and background vocalist he has toured with artists such as The All-American Rejects, Adam Lambert, Christina Perri, Glee star Lea Michele, and My Chemical Romance singer Gerard Way.

We chatted with Scott on how he’s using the Prophet Rev2 in his music:

What made you choose the Prophet Rev 2?

I was searching for a modern synth to integrate into my studio and the Rev2 checked all the boxes. It’s not a one trick pony. The sonic capabilities go so deep that I’ll be continuing to discover new timbres for a long time.

How are you using it?

Been using it in the studio for pads, leads, and bizarre, unique tones. It adds a great quality to the track that takes it to a new level. Also, with the new firmware update, the Arpeggiator sends out data over MIDI. I’ve been arpeggiating my whole studio with it!

What’s one of your favorite things about it?

I love how the sound and workflow inspire me to be more creative. It encourages me to explore places I wouldn’t normally go. The ideas start flowing very quickly as soon as I touch the keys.

What does it give you that other synths might not?

It has that classic Curtis filter sound that just can’t be replicated. Also, the variable waveshapes can create waveforms that I’ve never heard in other analog synths. Add to that the extensive modulation routing, and it makes a sound that is completely unique to the Rev2.

Any interesting tricks or techniques you’d like to share?

Here’s a simple one that I’ve been enjoying lately: Make a patch in Layer A then copy it to Layer B. On Layer B add a bunch of Osc Slop, Pan Spread, and maybe a little high end from the resonance on the LPF. Stack A and B together, and now it’s a wider, fatter sound. You can even use this as an arrangement trick to fill out certain sections of your song. For example, in the verses you could play just Layer A, then switch to the bigger stacked version in the chorus.



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