As far as production goes, I also do mixing and mastering for clients online out of my home studio. I do studio drumming and live performances in Muscle Shoals and Nashville. I’m looking forward to meeting and working with new and interesting people and hope I can keep doing so for many years. I’ve been doing that for a few years now while still performing in various bands. Once my studio was finished I was able to start doing professional mixing, mastering, and editing out of my own house. I eventually saved enough to create my own home studio. At this time I started making enough money to put savings back. I got my first opportunity to play professionally when I was offered the job as the drummer for a big cover band in my town called “The Hit Men”. I wound up spending virtually all of my time working on something music related whether it was practicing drums, mixing, writing, or any of the other things that I got into. I got into guitar playing, piano playing, bass playing, singing, writing, mixing, mastering I wanted to do just about everything I saw. For a long time I only wanted to be a drummer, but as I got older and learned other things my interests expanded. ![]() I started playing drums at 13 years old and knew within 6 months of taking lessons that I wanted to be a musician for the rest of my life. I’m 28 and I live in Muscle Shoals, Alabama. Have an interesting story to tell? We want to interview Syntorial users from all walks of music life, from hobbyist to professional to mega-celebrity.Ĭontact us if you’d like to be considered for an interview.I’m Nicholas Sibley. Gavin Bryars (in general), Descendre by Terje Rypdal, Hats by The Blue Nile By applying the principles of synthesis to the electric guitar, I have been able to create a vocabulary of expressive devices that sound electronically processed but are created manually.ĥ. Syntorial taught me the vocabulary and techniques of synthesis, which has made me a more effective collaborator when working with producers and keyboardists. How has Syntorial helped you in your sound design process? To create the pointillist, evolving guitar soundscape that plays throughout Faunaphor’s “I see you in my dreams”, I created a custom sample library of about 100 guitar sounds and effects that my collaborator, Louis Weeks, mapped to a MIDI keyboard and and played as a new instrument.Ĥ. Tell us about a project you worked on or a piece of music you created, in which you found the process particularly interesting. After studying jazz and classical music in college, I became interested in synthesis and music production, which I began teaching myself using various online resources.ģ. Growing up I experimented with my sister’s Yamaha VSS-30, which served as a gateway into synthesis and sampling. Tell us about your history with synthesizers I am the guitar faculty at Camp Encore/Coda, where I coach rock and jazz ensembles and teach various classes, and I teach guitar, ear training, and music theory lessons in person and over video chat.Ģ. I compose for film and podcasts, and play guitar with ensembles in rock, jazz, and classical music. In 2018, Faunaphor was chosen to support Múm at the legendary 9:30 Club in Washington, DC. As we push ourselves to expand our musical vocabulary, we combined impressionistic harmonic devices inspired by Debussy and Ravel with arrangements inspired by Talk Talk, The Blue Nile, Steve Roach, and Ambitious Lovers. Like a longform classical composition, this album’s six extended songs are connected by common musical and lyrical motifs that are continuously developed and re-contextualized. ![]() ![]() And There I Was (2017), credited to Faunaphor, combines the suite-like construction of arc | radius | curtain with the song-based format of shift/away and haha.
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