Bio
I started music very early when I was 6 or 7 years old. I grew up with this respect and love for them. At some point when I was young, I became more interested in learning how to make music through computers ... The sampler phenomenon in the early 1990s was very fashionable at the time. I wanted to learn how to do what I loved and heard on radio stations and how to give shape to my compositions. I was almost obsessed with getting keyboards, computers to achieve this, and despite some difficulties, I entered the world of production. I wrote music for a few years, created jingles and melodies, and over time there were fantastic opportunities to work with and write songs for several very important artists in my country. This gave me an invaluable experience that I try to apply in my daily life and work.
I used to produce house, techno, dance, chill-out, hardstyle ... but my influences have always led me to include orchestral arrangements in my work, even if the style was very electronic. There were always a few orchestral winks, no matter how small they were ... I loved the soundtrack ads and the music by James Horner, Danny Elfman, Harry Gregson-Williams, Hans Zimmer and John Williams. They were like a drug to me ... And it was important to go to the cinema to hear their work in action.
I remember watching the first The Lord of the Rings trailer heard a title that broke my plans and was like a catalyst for me. That was 'Gothic Power' by composer Christopher Field. I used to think, like many others, that trailer music was part of the soundtrack, but when I bought it and didn't find the track I liked so much, I thought it was a little different than my approach. I became more interested in the subject and soon discovered how the trailer industry really worked. What I didn't know is that this interest would become so great that I would work in the same industry years later after I started creating demos for sample libraries.
It's a random process ... In most cases, the melody is my top priority. Unless I create a rhythmic groove, such as a 7/8, that somehow drives you to a certain type of melody. I always try to find the key that best suits the main instrument and the melody to be played. That with samples or synthesizers ... if the arrangement is for real orchestra, there are other limitations that I have to consider. Then I start creating the entire orchestration, taking tensions and counterpoints, percussions, synthesizers, bass sequences, and accents into the overall sound design and effects, but I mix all the time. Isn't it the case that I mix later? I do it all the time because I have to create a symbiosis between all the characters and above all the balance between them. For me it is extremely important that everything works in harmony and that the most insignificant edge is as unobtrusive as possible.
However, it is true that the post-mix, in which almost all musical aspects are done and you focus on specific frequencies, masking and mastering, is the most delicate process for me and, depending on the days, it takes me several days, sometimes weeks or months on the complexity of the song. It seems over the top, but I'm very analytical in terms of equalization and automation, which sometimes seems unnecessary given the quality of the samples we use in production, but it's extremely important that everything coexists and functions as ONE. Maybe almost as important as creating a good motif.
