Interview with Nick Schofield

One of Nick's synthesizers

Nick Schofield's piece 'Sunshower' is part of our New Works programming.

You can hear his piece on Thursday September 11th at 7pm or Wednesday September 24th at 7pm, as part of a double-bill with ignoble marmalade's piece ‘cut short//coupée’, by tuning in to 106.6 FM (Gatineau) or by listening online. 

Learn more about his piece and his creative process through this interview. 

1. Set the scene for us - what was a typical day like working in the studio on this piece?

Each day was spent learning the intricacies of MIDI sequencing many synthesizers simultaneously using Ableton Live. There were lots of little technical hurdles, but eventually I got all the machines talking to each other and I was ready to let the synthesizers really sing. It was very summery weather when I was in the studio, and everyone at DAIMON was being so sweet. The good vibes and sunshine ended up influencing the direction of the piece. The sun was pouring into the studio so I opened the window and recorded the birds outside with my iPhone, which you can hear in the piece. Then, while I had all the synthesizers running sequences, it started to 'sunshower' - it was lightly raining while the sun kept shining. Philippe and Camille at DAIMON said the music coming from the studio sounded exactly like the weather, so I decided to follow that feeling and named the piece 'Sunshower'.

2. Could you tell us about the three voices you are working with? 

I ended up using more than three voices! 

The piece 'Sunshower' features MIDI sequenced synthesizers, which are also known as 'voices'. I wanted the voices to respond, ricochet and react to one another. I ended up using distinctly disparate voices to see how their contrasting characteristics would blend. I sequenced flutes from the Korg M1, classic analog tones from the Moog Sirin and two very modern sounding voices from my modular synth (4MS Ensemble Oscillator and Mutable Instruments Plaits). The piece also features some lush drones from a Roland Juno-6, Waldorf Streichfett (strings), and LABS 'Micah's Choir'.

3. You've mentioned Laurie Spiegel's Patchwork as a key influence on this work- can you share a bit about this connection?

Yes, I love the interweaving synthesizer sequences in 'Patchwork', they sound like sonic choreography. I imagined how I could accomplish this feeling with my new MIDI sequencing set up, so I used the residency to learn more about configuring all the technology to work together. In Patchwork, I also love the brilliant emotion that the piece elicits, it feels like the beginning of an ecstatic experience - so I wanted to tap into that mood as well.

4. What does composing for radio feel like?

Good question! Radio has the potential to really excite the listener because what comes on is so unexpected. Also with the radio, you often don't hear the beginning or end of a piece, and I associate the radio with being on route or co-existing with life. So, I wanted to create a longer piece that slowly evolves, awakens the mind and accompanies the listener on their journey.