MUSIC & SOUND | IN HALF

"Musicin the soul can be heard by the universe" Lao Tzu

I discovered my passion for musicat an early age, perhaps inherited in my family by my grandfather whowas a musician (accordionist). Growing up inthe 80s and 90s, Ilistened with fascination to synthetic pieces by Vangelis, JeanMichel Jarre or Isao Tomita, among others, which invited me to dreamof alternative worlds. Just as my restless and dreamy mind led me totry to imitate such pieces of music, I also felt a deep attraction togiants of film composition such as Jerry Goldsmith, James Horner,John Williams, Ennio Morricone, Danny Elfman or Hans Zimmer (to namea few of those who have inspired me the most) Whose soundtracksgreatly enhanced the films that shaped my life.

It is always difficult to interpretsubjective cues in the same way, such as bringing emotions to visualsequences through audio, and for this I often resort to tried andtested combinations of musical elements on the emotions of the scenesby combining acoustic (or sampled) instruments with synthesizers,sound design, ethnic flavours andvocals. At the same time I ampassionate about immersing myself incombining notes, pitch shiftingtechniques and a myriad of tricks to achieve very precise feelings,as they fit perfectly with my compositional dynamics.

If I had to choose my main instrument,it would undoubtedly be the piano, I love composing with it and forit.
Perhaps my greatest skill as anartist is the ability to invokewithin my emotions of different kindsand transmit them from my headto something tangible through music,always with the aim oftranscribing memorable themes and trying to make the piece createdgive the listener "goose bumps" if the occasion allows itor at least convey the desired feeling.
Iam completely self-taughtin terms of composition, orchestration and production and, although Ido not consider myself a professional pianist by any means, I alwaystry to convey with the highest possible level of detail the emotionsthat are born inside me at every moment.

The most important aspect for me is theemotional and dramatic impact that the music can evoke as acomplement to the Story, regardless of the genre or the subject ofthe project is. If there is depth, meaning and drama, I will beinspired without limits. After all, my lifetime dream goal is to havethe privilege of working with amazing people on great projects and tonever stop learning and innovating in search of the perfectharmony.
I have never tried to define my own music in anystyle,and therefore I hope to have a unique and versatile style that rangesfrom orchestral to minimalist or experimental (but maybe...that's theconclusion to be drawn by those who listen to my music). J.M.C

Behind the Foley sound Effects

The FoleyVigo team operates like a finely tuned orchestra, harmonizing their talents to breathe life into every project they tackle. Their process begins with an in-depth examination of the raw film footage, where they meticulously analyze and replicate the myriad sounds that characters might produce, as well as their accompanying actions.

All of this creative energy unfolds in their enchanting studio, affectionately named Khazad-dûm. This vibrant space is a treasure trove of props and inventive objects, each with its own story to tell. The FoleyVigo team consists of four talented foley artists: Xoan Iglesias, the skilled technician; Patricia Huertas; Daniel Jiménez; and Marcos Santos, all of whom bring their unique flair to the craft. They are joined by Koke Laiño, the master mixer, who expertly blends their sounds into a seamless auditory experience.

During recording sessions, the team meticulously breaks down scenes to identify the specific sounds that need to be captured. This collaborative process thrives on trial and error, requiring quick thinking and spontaneous improvisation to uncover that elusive perfect sound.

Jorge Morais, the project manager, reflects on this dynamic experience:

"Working with FoleyVigo was an absolute delight. The recording sessions were filled with joy, and witnessing the incredible way these sound artists discovered every necessary sound for the footage was nothing short of mesmerizing."