It’s all malleable This is just a sound, you know? And so, in my brain, it’s like as long as I remember the sounds that I want, then I can do them in the computer because I can just – it’s not that I can mimic them, but I can get as close to those sounds as I want to.
I think – all I’m doing is creating a physical activity in a way, as opposed to sitting down in front of a computer and having this static relationship.
My name is Roberto
I am Helado Negro.
Today we’re in my studio and we’re showing you mostly a process of inspiration and creation.
The building material.
This is the mine.
You’re inside the mine; we’re mining today.
I would initially learn how to design and make and arrange music and sound by sampling records to a sampler, and then, with that sampler, it became a microscope of sorts that was allowing me to analyze smaller fragments of sound.
So that’s kind of how I’ll end up generating something, and then I’ll start putting stuff together like I just did, decompiling it or whatever and the way I have it set up is that the sound runs through the reverb and then it also runs through the Echoplex – which is a tape delay.
And then there’s a sustain, meaning how long it does that echo for? And for me these are just – it’s a way for me to play with the textures, with the rhythms of things, you know? And I also have it going through this filter, and I have different ways to modify the sound.
For me it’s an exercise in finding rhythms and finding grooves, and then I start hearing melodies on top of stuff like this.
That’s where the singing comes in.
I think a lot of times where I keep generating something, and then all of the sudden I hear this thing and I’m like, “OK I gotta figure – I gotta get it over here quick because if I don’t, it’s like I lose it.
” And within the computer I use different softwares, like Ableton or Pro Tools, and then from that point on I design some sort of song.
And so, a really good example of that is this loop that I ended up making on the MPC and it’s like… You know, it’s like this beat.
And then, on top of that I put this synthesizer, right? And I was just playing this with – I have this little synthesizer called an OP-1, so I’m putting these two things together, and I’m like, “ta da ta da.
” So that ended up being the seed for a song, and I was like, “OK, here we go.
” This is this really fun, melodic thing that I had going, and then I just started singing over it.
The basic vocals ended up being like.
The distinction between everything I’ve done in the past, before Helado Negro was I began to sing and use my voice just as an instrument, another instrument to contrast all the smaller sounds, aggregating samplers and manipulators and modifiers – something to reflect that whole organic process.