We are extremely excited and fortunate to have the pleasure of hanging out today with epic-music composer and producer, Ivan Torrent! Ivan has worked with a myriad of top-notched production companies, released two studio albums to date, each having garnered millions of views on YouTube, and has emerged as one of the most outstanding epic-music composers within the last several years.
Ivan! So glad to have you with us today! So, tell us a little about how you got started with music, and how your journey was like as a producer, and then eventually, becoming an epic-music composer.
Thank you so much guys for your interest! It’s my pleasure!
I started at a very early age with music, when I was 5 or 6 years old. I grew up with that respect and love for her and I studied solfeggio from 7 to 13 years old. I gave up my musical studies at that time, and I became more interested in learning about music production through computers… The sampler phenomenon at the early nineties, was very fashionable at the time. I wanted to learn how to do what I loved and heard on the radio stations, and learn how to give shape to my compositions. It became almost obsessive in me to get keyboards, computers that would allow me to achieve that goal, and even with some difficulties, I was entering the world of production. For some years I wrote music in radio stations, creating jingles and tunes and over time fantastic opportunities arose, to work with several very important artists in my country and write songs for them. This gave me an invaluable experience, which I try to apply in my daily life and work.
I used to produce House, Techno, Dance, Chill-out, Hardstyle… but my influences always led me to incorporate orchestral arrangements into my work, even if the style was very electronic. There was always some orchestral winks, no matter how small they were… I was passionate about advertising soundtracks, and also about the music of James Horner, Danny Elfman, Harry Gregson-Williams, Hans Zimmer, John Williams. They were like a drug for me… And it was important to go to the movies to listen their work in action.
I remember that watching the first trailer of The Lord of the Rings, I heard a track that broke my schemes, and it was like a catalyst for me. That was “Gothic Power”, by composer Christopher Field. I used to think, like many people, that trailer music was part of the soundtrack, but when I bought it and didn’t find that track that I liked so much, it made me think that something was different from my approach. I became more interested in the topic, discovering how the trailer industry really worked shortly afterwards. What I didn’t know is that this interest would become so strong that it would lead me to work in the same industry years later, after starting doing demos for sample libraries.
What is your creative process like? What is your typical experience starting a track, “from idea to finished recording”?
It’s a random process… In most cases, the melody usually comes first for me. Unless I’m creating a rhythmic groove, like a 7/8 for example, that somehow pushes you to a certain type of melody. I always try to find the key that works best with the main instrument and the melody to be played. That in the case of samples, or synths… if the arrangement is for real orchestra, there are other limitations that I must take into consideration. After that, I begin to create all the orchestration, incorporating tensions and counterpoints, percussions, synths, bass sequences, accents throughout sound design and effects, but I’m mixing all the time. Is not that I mix later… I do it constantly because I need to create a symbiosis between all the characters, and above all of balance between them. For me it is extremely important that everything works in harmony, and that the most insignificant edge is as inconspicuous as possible.
It’s true though, that the post mix, where almost all the musical aspects are done, and you concentrate on special frequencies, masking and mastering, is the most delicate process for me, and it takes me s