Become a Sonic Explorer

Not too long ago I started watching Spitfire Audio’s Christian Henson vlog on YouTube (I know, I’m late to the game) and I was impressed by the fact that, even being the co-founder of one of the leading developers of virtual instruments in the industry, he keeps suggesting  that every student starting to get involved with music for media shouldn’t worry about getting a good sample library but rather, invest money in a decent microphone.

We live in a world where every smartphone is capable of recording sound in a pretty decent way, specially if you help it with a couple of accessories (dedicated external mics, a wind shield). 

Finally, Salome Voegelin starts the first chapter of her book “Listening to Noise and Silence:  towards a philosophy of sound art” defining ”listening” not “as a physiological fact but as an act of engaging with the world”. The very moment I read that, I started thinking about the soundscape we’re immersed in every day in a different light.

A long time ago the contemporary musical language reached a level of complexity that made it hard to distunguish between music, noise and even silence.

 Field Recording in North-East Italy with a Zoom H6

Field Recording in North-East Italy with a Zoom H6

Countless soundtracks blurred the lines between music and sound design, and in the video games industry it is not uncommon for a musician to take over sound design tasks and vice versa.

A couple of years ago I started working on a personal library of sounds.  

It’s about collecting and carefully organize the sounds I grab during trips, or snippets of improvisations on a guitar or a synth. Most of them found their way in several projects.

The world surrounding us is full of resources for your music so, grab a microphone and become a sonic explorer.