How did you discover Merging Technologies products?
I was sharing a studio with my fiancé who is a sound engineer and a composer, and the studio had a Hapi device. I was so impressed by the quality of it, and I knew at some point we were going to need separate studio spaces. I was starting to do more and more session work and composition jobs, and I thought I’d really like to have that same quality in my own space. So, I did some research and the new Anubis came out, and I thought it was perfect. Not just for my studio at home, but for taking on the road due to its size. I’m on the road about 240 days of the year, and I have a lot of session work that I need to be able to do on the go. Now, both my fiancé and I, have studios in the same building, so what belongs to me belongs to him and vice versa! Which is great, as we have an incredible combined arsenal of gear.
I never compromise on quality, so the moment I used the Hapi I was hooked. The low latency is absolutely vital. When working on things like film music, where you are working to a click track and have to be super tight, it’s extremely important to have that low latency. It makes you deliver higher quality results for your clients. I also noticed that my own violin sound was so much better; the preamps of the device are next level. It’s so vital when playing an instrument like the violin, which is so subtle and has so many colours.
How has the Anubis enhanced your music production?
It’s noticeable that the complete chain of audio conversion and signal path is built without compromise and optimised for excellent sound, which you can hear instantly. The latencies are very small, and the mic preamps are outstanding. All these aspects influence the quality of my recordings, so I can easily compete with the big professional studios in terms of sound, signal path and conversion quality. So, having the Anubis in my home studio has enhanced my productivity and the quality of my work. I never have to worry about technical aspects and can rely fully on the device, which always works perfectly. I mainly use it as an interface in my home studio, but also as an analogue mixer for features such as EQ, reverb and no-latency listening while recording.
When using the Anubis, which Mission are you running?
I use Music Mission and what I immediately loved and still appreciate is the touch screen and user-friendly mixer. Features such as mic gain, reverb, headphone or speaker volume are easily accessible and easy to adjust.
Tell us about the new record you are currently working on? We understand it’s quite a departure from your classical roots.
I officially started releasing my own compositions about 18 months ago. I had to compose an anthem for a soccer team in Spain (CF Intercity) and it was the first job that I worked on with the Anubis, which is very important for me. It had to be epic and impressive, so I ended up composing a track with about 100 layers, and all of the instruments were played and recorded by me with the Anubis. I played many types of drums, keys, violins, I programmed a lot of instruments, I recorded voices, and also many different effects like claps and percussive layers. I was always thinking about releasing more original compositions, so I started my journey with that. It has developed into me working on an album, which is very futuristic and combines a lot of electronic elements.
I come from the classical world, but for me, just working in a studio at home and having access to a lot of possibilities in my own space is great. I have a lot of synths, I recently bought a bass, and I have lots of different types of violins that sound very different. I started experimenting a lot with those sounds and it turned into an album that will come out later this year. It's going to be called ANDARA 1980. There is a big story behind it. I don’t want to give away too much, but it’s a little tribute to Vangelis and the Blade Runner soundtrack, which was a revelation for me as a musician when I first heard it. I was so hooked on those ‘80s synth sounds.
There are a lot of violins of course, as that is my main instrument, and I feel like my voice is connected to the violin. Everything I want to say comes first through violin. It’s a really exciting production and I can’t wait to release it. I have also released two singles called Organismic Experience No.1 and No.2
How much do you enjoy experimenting with genres?
It’s incredible. It’s like swimming in the Caribbean sea. Everything is so open and wonderful. I was classically trained, but I always felt that the classical world can’t be the only thing for me. I loved folk music early on and when I first started playing with synths my mind expanded. A limitless path opened.
Is there a growing classical movement happening in 2022?
Yes, thanks to film composers and being performed more and more by orchestras and classical soloists around the world, there is a more relaxed approach towards classical concerts. I see people who never went to a classical concert before suddenly being interested in classical music after they watched John Williams conduct a symphonic orchestra, or Hans Zimmer filling an arena with his Symphonic programme.
What have been some of your career highlights?
To name a few: being accepted at the Conservatory of Music in Vienna, winning the Karajan Scholarship, winning my first international competition in Italy, my orchestral debut, receiving my Masters diploma, performing in front of 20,000 people for the first time, sharing the stage with Brian May and releasing my first album!
What’s next for you?
I’m going back on tour with two of the Hans Zimmer tours where I am a solist. In Autumn I’ll be touring with The World Of Hans Zimmer in Europe and next year I am doing Hans Zimmer Live, which is the big tour with Hans Zimmer live onstage, that will be a three month tour through Europe.
