Building one-self A Sound at a time
Reinventing the creative process
“My tendency has always been to create very introspective music.”
“I feel compelled to describe ‘internal landscapes’ on a psychological level, dealing with complex emotions and giving them a musical voice. I suppose this is why creating film scores comes quite naturally for me.”
Sasaki’s particular blend of musical and visual art, as well as the combination of classical and electronic styles, certainly defies convention. However, the use of analog synthesizers feels like a natural progression for Pauchi, and not simply a forced gesture to add ‘shock value’.
“After picking up the violin, I started to become interested in the vernacular of popular music, and then electronic music.”
“I felt like I was collecting colors in my palette.”
Pauchi likens the use of varied musical equipment to a traditional painter’s medium.
“Of course there are incredible artists who are able to express all kinds of emotions in just black and white - and that’s amazing - but the more colors you have, the more resources you have available to create your music.”
This sonic fluency gives Sasaki the inspiration she needs in film scoring, giving her the creative flexibility for each new project, story, and character.
Blending serenity with Brute force
“MicroBrute is a very important part of my film scoring”
I’m very comfortable working within the Pro Tools environment, and one trick I use to make the sound of my MicroBrute really come alive is by using the Space effect in Pro Tools.”
Pauchi uses the reverb impulse responses within Space - a mix of real and modelled sound environments - to augment and compliment the sound of her MicroBrute, giving it an exciting new dimension, and adding some really unexpected harmonic details.
In a recent collaboration with Arturia, Pauchi Sasaki performs an abstract piece using the MicroBrute connected to her iconic “speaker dress”.
“I approach film in the same way I do with music. I spent a lot of time considering how I would like it to look.”
Sasaki describes her music videos as “sound sculptures”, as the she pays close attention to the context, concept, and creation of each element within them. For this video, Sasaki felt that the music didn’t suit the confines of a room, and so with the help of her director and producers they found the perfect location for the video.
“I really wanted to show Lima, my home, so we chose Morro Solar to be the setting: a mountain in Chorrillos where you have a beautiful backdrop of the city.”
Taming the beast
In the world of music and art, you can always be sure that you will face unexpected challenges, and this video was no exception. Sasaki and her team faced several technical issues to overcome while filming the video.
“The speaker dress itself is quite tricky to perform with, as it’s quite dangerous. The first time I used it, I burned my hair!”
“I needed everything to be portable, but as I already mentioned, the MicroBrute does not use batteries. There was obviously no DC power on top of the mountain, but thanks to the amazing help of the team, we found a way to work around these problems and make the video a reality.”
For newcomers, this video perfectly encapsulates the experimental, artistic nature of Sasaki’s work. From years of honing her particular style, she’s well aware that her creations can sometimes appear to be quite shocking or confusing.
“If I am allowed to be wild - I will be wild!”
“I like to open a real dialogue with the moment, and work within the context of each project. Of course I will always do things with my own style, but I try to deal with what I’m confronting and interacting with. If the situation dictates that I behave - I will behave! If I am allowed to be wild - I will be wild! It’s just like life.”
From hearing Sasaki discuss her passion for music, soundtracks, and art, it becomes quite apparent that she enjoys extremes, from the super-subtle, inoffensive and sweet, to the most wild, unpredictable noise.
“When you love to read and love to watch movies, you really enjoy the variety of emotions they bring. This is my aim in music: to create a place where I can mix these extremes together in a complementary way.”
Heart of Glass
To Sasaki, Philip Glass is an amazing example of consistency and determination, with a strong, identifiable style, and flexible, inspiring methods.
“In a similar way, at the start of his career Philip used keyboards to to overcome this problem. Unlike other composers, he didn’t just use piano sounds, he used organs and synthesizers, too. This also gave him freedom to move and tour and travel. In this way, he and I are very similar.”
“It’s a real joy to watch him work!”
Thanks for reading this article. If you’ve been inspired by Pauchi Sasaki’s use of the Arturia MicroBrute and want to find out more, visit the Arturia website for more details.
If you want to hear more of Sasaki’s work, she will be performing her speaker dress duet in California, USA in June, and premiering a new, exciting production at the Grand National Theater of Peru in August 2017.