Christian opens up his chest of secrets to share with us a technique he first used on Tony Scott’s film, Spy Game. A method by which you can use vocoders to marry un-pitched rhythmic loops and synths into a hybrid electro-organic motion bed. The organic nature of this process lends itself to mixing into orchestral material with relative ease, whilst the synthetic nature gives it ‘the edge’. They are suitable for drama as they can track pitch and tempo on the fly, and the combination of sequenced material and front end knob controls mean that these beds can evolve, break down, regress, modulate and re-meter in a seemingly endless number of configurations. This gives a composer a very versatile new tool when dealing with that impossible 12 minute action or thriller sequence.
Christian’s main weapon of choice is the in-house vocoder for Logic, but he also experimented with Izotope’s Vocalsynth and Sugar Bytes ‘Robotronic’ . The carrier signal was created using Spitfire’s “Inder Goldfinger - Percussionist” library.