“Performer completely changed the way we can manipulate music. It allows me to freely create sound design elements, but most importantly, perform musical ideas that can’t be done any other way.”
Could you tell us a little about your background and your main activities in video game composition/music production?
Originally being from Berlin, I have been composing music for video games since the mid nineties. Some of the titles I’ve worked on are Splinter Cell 4, Prototype, Hellgate, Mass Effect 2, Sony’s MAG, TRON: Evolution and the well known Quake series. I also produce and write electronic music under my artist moniker, Toksin. I have done remixes for many other artists and bands such as Celldweller, Deepsky, and BT.
How did you come across Konkreet Labs’ Performer?
The guys over at Twisted Tools mentioned something about a very intuitive ipad app that can control their “Scapes” software. It immediately caught my attention and now KP is a big part of my setup and the way I write all of my music.
Can you tell us a bit about how you use Performer in your workflow?
I have an interesting work flow here and a few machines that have particular functions. One of my computers is the area in my studio where a lot of my initial experimentation with sound will take place and as a result, I have 2 dedicated iPads for that workstation. Often after coming up with some interesting sounds that need more work, further filtering, tweaking, mangling (i.e. the fun stuff), I’ll then bounce those elements to my primary sound design workstation. Once I get started there, the real time consuming work happens and the sky’s the limit. That’s not to say KP only fits into the initial sound design when I write music, in fact, I’m using Performer heavily in Reaktor, Scapes and Native Instrument’s Razor just to name a few. The change has been interesting especially with those synths because Performer is how I interact with those synths now instead of a standard MIDI controller. Lastly, because I haven’t finished it yet, the science project right now is to get KP mapped to my Kyma workstation, which should produce some amazing results.
We created Performer to offer a completely new method to control existing music software; did it meet your expectations?
Performer completely changed the way we can manipulate music. It allows me to freely create sound design elements, but most importantly, perform musical ideas that can’t be done any other way. It’s one thing to turn midi knobs and faders and tweak the automation data, but this is a whole new method of control and I’m afraid after using KP, it’s really hard to go back to traditional MIDI manipulation.
Can you tell us a little about your future plans, both for video games and your own projects?
We finished work on something for the Mass Effect franchise a while back and just last weekend finished recording Orchestra for our latest score, which I can’t talk about yet. After that there’s another unannounced Gearbox title which we are scoring and very excited about. I also have plans to finish my EP under my Toksin moniker soon, including a massive remix that already has found some heavy use of KP. You can check out www.sonicmayhem.com and follow me on Twitter @twitter.com/toksin