Vi riportiamo un’intervista apparsa oggi sul sito della Steinberg, dedicata a Ian Livingstone, noto compositore di Colonne Sonore ed al suo modo di utilizzare Cubase.
Di seguito uno stralcio, l’intervista completa al seguente LINK
Ian Livingstone scores at Abbey Road
Ian Livingstone is one of the most productive and versatile media composers today. Over the years he has worked with Europe’s leading classical musicians and orchestras — from Vienna over Bratislava to Moscow. Having a background as session musician and pop producer, Ian is also the right person for cutting-edge electronic scores.
His long list of clients includes Disney, DreamWorks, Fox, Saatchi and Warner Bros. He has been involved in high-profile projects such as the sixth Harry Potter movie, the My Big Fat Gypsy Wedding TV series or the American Idol show.
For one of his latest projects, the soundtrack for the Formula 1 video game, Ian set up his workplace at the legendary Abbey Road Studios. In the interview with Steinberg, Ian tells us how he fell in love with the well-oiled Abbey Road machine and why he has always been a keen user of Cubase, Nuendo and CC121.
Hello Ian, thanks a lot for taking the time!
Could you please give us a short insight into your main activities and production areas?
I’m a composer working primarily in the video game, TV, and film industries. Each area brings a nice variety. One day I may be scoring a huge cinematic cut-scene with live orchestra and choir, the next a fast electronica racing game cue, or a subtle piano based documentary score about human emotion. Each industry has its own set of challenges and you don’t run as much risk getting pigeon holed into specializing in one particular niche or genre.
How did you get started in the music business?
I played in various bands in the mid 80s and decided to quit my day job as computer programmer to tour Europe and UK with A Certain Ratio and The Rhythm Sisters. Having got the taste dipping my toes in the writing side, I took a degree at Salford University in Popular Music and Sound Recording. While I was there, I teamed up with a singer and we built a 16-track demo studio primarily for our own purposes — but also to record other local bands and learn the ropes.
Although we were using mainly budget outboard gear at the time, it taught me the basic principals of the production process, dynamic processing and EQ. After my degree I took any music related work I could get. Programming karaoke backing tracks for example was a great insight into music arrangement. I reverse-engineered hits by The Beatles and Abba and analyzed what made the original arrangements work.
Then purely by chance I sold a keyboard in a free ads magazine to a guy whose family was setting up a video game company in Manchester, and he asked me to do some demos for their first game. That company became Warthog, which was a big player in the mid to late 90s, and I ended up scoring quite a few big titles for them — notably Starlancer, Star Trek Invasion, Mace Griffin, and Bounty Hunter.