My outlandish love for synth-filled music has brought me here
written by Everett Thomas Fitch
In terms of sounds that please me, that liven up my senses, synths top the list.
That's a broad statement in regards to the near-infinite amount of synth-filled music out there. But I was born in the 80s. Creepy Jim Henson creatures and dark, dreamy synths permeate my unconscious. I’m no historian of the instruments nor the genres, I only know what’s a hit to me, what makes my soul catch neon fire and my heart leap from my chest in nostalgic euphoria.
The 80s are synonymous with both analog and digital synthesizers thanks to the advent of more portable, more affordable and more widely available technology at the time. But the love for the instruments and all the varying genres that encompass them have kept on growing beyond that beautifully strange, cosmetic decade. Many artists and composers have continued to embrace and improve the storytelling abilities of synths on into the 21st century.
I was able to meet one of those very inventive composers at a recording session for Warner/Chappell Production Music a few months back thanks to Marc Daniel Nelson who is an extraordinarily talented audio engineer and producer currently working at LA East Studios in Salt Lake City.
I had the privilege of capturing behind the scenes at LA East studios while brass and strings and synths took their dark, shadowy shape. Once I heard the thoughtful placement of sounds and instruments that the composer, Brian S. Carr (pictured below), was able to conjure up from the depths of his psyche I was overtaken. From the super cinematic and explosive to the introspective and meditative, there was no doubt he was taking us on a cosmic exploration of self and space, the very real kind of space that holds stars and planets and black holes and all the crushing infinity we have yet to know.
See the studio highlight video with Brian S. Carr below for a rare look at a recording session that involved some remarkable talent.