Daniel Masson Interview
Q: You have been creating electronic music for the last couple of decades. How has technology changed the way you create music?
A: In the 90 's I used a computer, sending midi to hardware synthesizers and synchronized with reel tape recorder for audio parts.I had a limited number of audios and midi tracks and I spent hours rewinding the reel tapes and loading sounds on samplers with floppy disks. Nowadays I can access tons of sounds with huge sound libraries and virtual instruments. I can explore infinite musical dimensions by blending sounds very easily and quickly. The technology brings the ability to have a less conformist approach with the music. The possibilities have no more limits but inspiration is still the true motor engine of creation.
Q: Are there any particular pieces of equipment or software that were a game changer for you over the years?
A: I used Logic Audio for years; it was a very good tool for creating music. But for several years now Ableton Live has imposed itself as the best and most innovative music creation software. I use it and that's the perfect tool for me.
Q: How do you feel about the current state of electronic composition? It seems as if everyone with a laptop and a program like Reason is calling themselves a musician. What are your thoughts on this and the abundance of people calling themselves electronic musicians.
A: A computer with programs is like a musical instrument. You need time for learning and getting experience to correctly express your musical ideas as well as controlling the production part. You must have skills as musician, composer, sound engineer, mixer, producer and even mastering engineer. Now everybody can easily publish and sell their music, and at a very low cost compared to the past. So the production is huge! That creates a musical tsunami for listeners and makes the music market very competitive. Musicians are spending more and more time on their marketing and less and less time on their music!
Q: You worked for Ubisoft. How was your creative process different when creating music for a video game rather than yourself?
A: The frame of mind is different. When I create a video game soundtrack I have to enter into the universe of the game. The music must serve a scenario and images and has to respect a number of requirements. When composing an album I 'm free for choosing my soundscape, my beats and to explore new musical dimensions without restraint.
Q: Your songs on your latest album A Tiny Kick in the Brain contains a large variety of sounds. Where does the creative process start for tracks like these where it seems like it would be impossible to compose on a single instrument?
A: Most of the time I start with some beats and chords. So I get a first layer and I experiment with diverse combinations and blends using my huge sound library of musicians and singers samples I've recorded worldwide . I also play the guitar and the bass. I spend hours and step-by-step I elaborate a soundscape. It takes me one month to compose and produce one tune!
Q: What electronic artists are you currently listening to?
A: Some post dub step musicians such as Disclosure, Joy Orbison, also guys like Kettel and Secede and always the “classics” Matthew Herbert and Trentemoller.
Q: Are planning on doing any touring for this album?
A: Sure I plan to tour as I did for my previous album Frequencies and George Melies - Impossible Voyage project. On stage I play and improvise my music using Akai apc40 with Ableton Live and Max4live.
Q: For my last question I want to ask what inspired the title A Tiny Kick in the Brain?
A: Last year on tour in the San Francisco Bay Area, I lived interesting experiences which were acting like a tiny kick in my brain.
Q: You have been creating electronic music for the last couple of decades. How has technology changed the way you create music?
A: In the 90 's I used a computer, sending midi to hardware synthesizers and synchronized with reel tape recorder for audio parts.I had a limited number of audios and midi tracks and I spent hours rewinding the reel tapes and loading sounds on samplers with floppy disks. Nowadays I can access tons of sounds with huge sound libraries and virtual instruments. I can explore infinite musical dimensions by blending sounds very easily and quickly. The technology brings the ability to have a less conformist approach with the music. The possibilities have no more limits but inspiration is still the true motor engine of creation.
Q: Are there any particular pieces of equipment or software that were a game changer for you over the years?
A: I used Logic Audio for years; it was a very good tool for creating music. But for several years now Ableton Live has imposed itself as the best and most innovative music creation software. I use it and that's the perfect tool for me.
Q: How do you feel about the current state of electronic composition? It seems as if everyone with a laptop and a program like Reason is calling themselves a musician. What are your thoughts on this and the abundance of people calling themselves electronic musicians.
A: A computer with programs is like a musical instrument. You need time for learning and getting experience to correctly express your musical ideas as well as controlling the production part. You must have skills as musician, composer, sound engineer, mixer, producer and even mastering engineer. Now everybody can easily publish and sell their music, and at a very low cost compared to the past. So the production is huge! That creates a musical tsunami for listeners and makes the music market very competitive. Musicians are spending more and more time on their marketing and less and less time on their music!
Q: You worked for Ubisoft. How was your creative process different when creating music for a video game rather than yourself?
A: The frame of mind is different. When I create a video game soundtrack I have to enter into the universe of the game. The music must serve a scenario and images and has to respect a number of requirements. When composing an album I 'm free for choosing my soundscape, my beats and to explore new musical dimensions without restraint.
Q: Your songs on your latest album A Tiny Kick in the Brain contains a large variety of sounds. Where does the creative process start for tracks like these where it seems like it would be impossible to compose on a single instrument?
A: Most of the time I start with some beats and chords. So I get a first layer and I experiment with diverse combinations and blends using my huge sound library of musicians and singers samples I've recorded worldwide . I also play the guitar and the bass. I spend hours and step-by-step I elaborate a soundscape. It takes me one month to compose and produce one tune!
Q: What electronic artists are you currently listening to?
A: Some post dub step musicians such as Disclosure, Joy Orbison, also guys like Kettel and Secede and always the “classics” Matthew Herbert and Trentemoller.
Q: Are planning on doing any touring for this album?
A: Sure I plan to tour as I did for my previous album Frequencies and George Melies - Impossible Voyage project. On stage I play and improvise my music using Akai apc40 with Ableton Live and Max4live.
Q: For my last question I want to ask what inspired the title A Tiny Kick in the Brain?
A: Last year on tour in the San Francisco Bay Area, I lived interesting experiences which were acting like a tiny kick in my brain.
Check out the full critique of A Tiny Kick in the Brain