Sound Design

more and more I understand that the roots of GRM in Paris still plays with my mind

I tend to go more and more into the inner dwellings of sound, their changes made by transformation through software or already programmed for live change in the instrument or plugin.

Violin with elevator gives you a different listening to the music than the violin playing the same tune by itself

Check out Genesis on YouTube

Worked on my new album Dream Train with 9 songs, you can hear excerpts on SoundCloud. Researching new methods of virtual acoustics, working with many different plugins where the melody is timbre and space in the virtual room a new asset in composition. Jury work with lots of music in film and other fields, radio programs with Symphonic Songs written for Susan Buirge Paris 1980. Now on to new electronic surround composition. Please navigate on this web site, I hope you’ll find something of interest.

Music has changed, methods have changed. It’s still so much fun to dive into these new possibilities.

Thinking about analog tape, then synths, then digital and then what ? Today the problem is to set the boundaries for how to work, it’s like having orchestras at your fingertips, but if you’re going to stay on track one has to keep focused on a certain number of instruments, otherwise I’m at least is lost.

Sound design is more and more a part in compositions - if not melodic.

When we played at Alice Tully Hall in New York City 1981 the late Michael Smith

piano and myself with a huge Synclavier II apparently shook some people up since they left their profession as successful Manhattan dentists for a new life doing something else even though the New York Times review of the concert was nothing short of disastrous. The music critic was soon after fired. Voice has always been a special interest of mine, not only because I was raised by a singing mother who has throughout her life been working with professional singers at the Conservatory in Stockholm, but also because there is so much to be done with it when I enter the studio. A couple of years during the 90’s I had just come back to Sweden to live after a long period of time spent in my flat in Paris. I had to face a different system compared to the french, not the least regarding - income taxes. I had to get another job in-between modern dance pieces, movies piano pieces and electronics. I landed a job as a teacher for people seeking asylum in Sweden, and met wonderful people from around the globe. My job was to teach them swedish. Their life stories, the sound of their language and all mystery emanating from a language one can not understand made a big impact on me.

Ever since have I found the voice to be a most remarkable tool and instrument which I have used over the years.

When I wrote the music for the Emperor 1979 I used synthesizers. The reason for this was first of all the economy which didn’t allow any recording of instrumental music. This lack of money proved fortunate with its modern sound of the soundtrack opposed to a pre-war southern Sweden in 1938. Why do I think that I could bring something to soundtracks ? I’m very humble regarding the value of each participating person in a movie. I have worked many years as a loner, the work is lonely, and I know that film making is a joint effort. I think that I’ve come to my senses regarding the ability to do not too much, that is compose too much. The music should be felt not heard, what I mean is this is not an arena for concerts but for a complete experience. I like directors who dare to use music without fear of “loosing” their directorship and control. I think George Lucas said that 50 % of a movie is music.

I’m not interested in generic symphonic music. I have experience from electronic music to symphonic where there are many great composers. The outer world of electronic or as it’s called in my old hometown Paris, France "musique concrète", could be a great addition and asset to film scores.