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Tell us a bit about your musical background, there's even
a history of breakdancing?
"My first experience with playing music was learning to
play the classical piece Canon by Pachebel, (on a xylophone)
when I was around 5 years old. This was my first formal introduction
to classical music. I then became a member of a child reggae
band for a few years playing the rhythm guitar and lead vocals.
Breakdancing introduced me to electro-funk, breaks and hip-hop
with all the delights of making electronic music on a budget
with a turntable, and hypnotic synths lines. My tag name was
called Glide, this later became Glideascope when I was working
on this current musical project."
Your new album, Audio Cinematography, is due out soon. Did
you have any goals that you specifically wanted to achieve with
this album; style, production, etc?
"Whether using virtual or real instrumentation I wanted
a distinctly live feel, and to encompass all the musical inspirations
I had encountered in the past. Even working on a limited budget
I wanted a big budget cinematic sound."
What is your main recording setup, very much computer based?
"The heart of my studio setup is Cubase
SX. Very much a computer based setup."
So Cubase SX is your sequencer, do you do pretty much everything
in it?
"Yes, from audio and MIDI recording, arranging, production
and final mixdown. For more complex audio editing I use Wavelab.
Occasionally I will have to record outside of my studio, for
example when working with large orchestras. I will however always
mix these recordings within my project studio."
How about instruments and sounds from the computer?
"I use a number of VST instruments, everything from percussion
and orchestral sample libraries and some of the Steinberg 'virtual'
series for mock-ups, which I then replace with live instrumentation
where possible. VST effects plugins, are extremely powerful
additions to the modern studio and for me these have gradually
replaced some outboard effects units as time has gone on."
Soft-synth wise, which is your favourite and why?
"Reaktor
- a complex soundstation - you can create sounds that you can't
deliver in any other fashion. Steinberg's The
Grand is very user friendly and easily compares to the real
instrument."
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You also play live, do you favour sitting in the studio
and writing, or doing a live performance?
"Well I can't really compare one experience with the other,
as the objectives are totally different. The instant feedback
from a live performance and the improvisational nature is very
exciting. But I also enjoy the 'perfect' controlled conditions
in the studio, you usually only have one chance on stage - in
the studio repeat takes are a lifesaver."
The trip hop genre is due to explode again, what are your
views on this style of music, and you must surely be excited
to be involved in it!
"I have always been a fan of trip-hop and all forms of
downtempo music and just wanted to work on a project that I
would be happy listening to on repeat play. This genre has influenced
a lot of artists indirectly and it has become fairly mainstream
even influencing artists such as Kanye West. Personally I am
happy creating something organic and emotive and with a return
to the experimental but melodic aspect of this music form."
How would you generally go about composing a song from
scratch?
Usually work with 8-16 bars, working on the main drum beat
and more often than not developing the string arrangement. On
average my songs take about 20 revisions before they are ready
for the final edit. This can become for me a very lengthy process.
Why should people listen to Glideascope?
"For anyone who loves blissful string arrangements and
chilled-out beats: Glideascope - Audio Cinematography"
"One of the most evocative albums you're likely to
hear this year" - METRO ****
"This is something a bit special, acquire"
- DJ Magazine ****
Lastly, give the budding producers some useful tips!
"Follow your instincts, if it sounds right it is right."
Thanks for the interview!
www.glideascope.com
www.audiocinematography.com
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