voices #46
◦ “voices” is the place where we ask, artists reply and you read.
here we got:
virabelo
answering some questions. We have already observed his drone / ambient work here.
[1. IDEA]
■ The A. O.: Can you tell us how the the track “Nova Mistero” came to light?
► virabelo: Nova Mistero (which is Esperanto for ‘New Mystery’) happens to be the sister track of Monolito (‘Monolith’). The two tracks share the same synthesis approach while also being the same total track length, which wasn’t hard to end up that way as they both share the same 60 bpm tempo. While Monolito is much darker in mood, I found that Nova Mistero has a much more lighter and open feel. Originally, the album was going to be called Monolito, with the album’s title track being the final track on the album. After later composing and naming the Nova Mistero track, I found that the track title sounded much nicer for the album name, and also felt the overall vibe of it was perfect to begin the album while the sister track, Monolito, closes the album.
[2. CREATION]
■ The A. O.: How do you usually approach composition? Do you start with a concept, a sound, a state of mind or what else? How do you generally proceed from the initial seed to the complete work?
► virabelo: Being that this release is my foray into ambient drone, I can only share of the composition process for this album. All the tracks of Nova Mistero were recorded live on my iPad. I use a program called AUM (Audio Unit Mixer) that enables you to virtually connect and route all your audio unit plug-ins–whether they be instrument, effect, or MIDI controller/sequencing audio units. I have a handful of various synthesizer (subtractive/fm/granular/wavetable/etc) audio units that tend to be my gotos for laying down pads and textures during beginning stages of creating a drone. Same with effect audio units, I have a collection of favorite reverbs and other various signal processing effects that I’ll experiment with to see what kind of atmospheres can emerge.
I have yet to purchase a MIDI keyboard/controller that I can connect to my iPad. So as far as triggering and sustaining my synthesizers, unless they feature a playable interface (like Shoom synth and Mononoke), I’ve been simply using the touchscreen MIDI keyboard that is included within AUM.
As a musician who has been making bedroom pop for decades using a computer and DAW, I find that making ambient music on the iPad is refreshingly liberating. When using a computer + DAW, I would always have all the composition elements locked down and finalized before rendering the final project…everything about the music would all be worked out to the desired result. In contrast, as far as the approach with the iPad + AUM, many of the composition’s elements are up in the air while I am in the process of triggering/sustaining notes and tweaking synth and/or effect parameters live as the track itself is being recorded. The large touchscreen of the iPad makes for an accessible interface for manually controlling synthesizer and effect parameters. With this approach to music making, no two ambient drone performances are ever exactly the same. I find this real time aspect very inspiring (and frustrating, too, at times) and look forward to continue growing my arsenal of iPad tools and techniques for live sound design.
From September through November of 2025, at the beginning of each week, I would start the process of creating a new composition. All week I would spend time each day on the same drone, trying things out like layering more textures, subtracting textures (sometimes one can go overboard with adding layers when less can be so much more), playing with synth and effect parameters.. basically playing around with anything, while making notes of what manipulations are working out nicely for the overall track. Then at the end of the week, I would record a performance of the drone that I’ve been working on, and then move on to begin working on another one. Each recorded piece was transfered to my Windows laptop where I would do any final EQ/mastering to the composition. At the end of November, I had about a dozen ambient drone compositions and so began the process of selecting my favorites to make a cohesive album listening experience.
[3. FEEDBACK]
■ The A. O.: What do you hope listeners feel or experience when engaging with your music?
► virabelo: I hope that the listeners benefit from the experience by being inspired from the feelings and ideas that can be evoked from the combination of the textures, harmonic relationships, and space/ambience. I know the benefits that I often experience from putting on a nice long ambient drone album–sometimes listening while allowing myself to focus on the interesting and evolving elements going on in the recording, as well as the times when I’ll put on the same ambient drone album and simply have it playing in the background as I’m concentrating on other tasks. To me a good ambient drone piece is great for either of one these listening approaches and my hope is that others find a similar benefit from my compositions as well.
[4. IDENTITY]
■ The A. O.: In a world saturated with digital music content, how do you try to keep your sound distinct and personally meaningful?
► virabelo: This is a very interesting question. I reckon that there is not anything that I’m intentionally doing in order to keep my sound distinct and personally meaningful in relation to the vast sea of digital music available in our times. Just the act of making a new drone – to play around with it while listening – is all I’m doing. If I like what I’m hearing, I’ll be sure to eventually record it. This in and of itself is distinct and meaningful to me.
[5. INFLUENCES]
■ The A. O.: Mention 3 albums that you consider relevant to your musical path and why.
► virabelo: ○ The Hope Blister – Underarms and Sideways
This album planted the seed of my love for ambient drone when I first listened to it over two decades ago. I didn’t realize it then, but this was the album that introduced me to drone music. At the time, I just thought I was listening to experimental music…which it is, it’s a very experimental album in its nature, but it is also packed with the elements that I’ve later came to love and appreciate from ambient drone music.
○ My Bloody Valentine – Loveless
For me, this is the album that brought to light the concept of layering sonic textures into one cohesive magnificent work of art. I never heard anything like it before and it immediately inspired me to want to further explore beauty within texture.
○ How To Disappear Completely – The Seraphim Trilogy
This is one of my more recent influences and brought me to the realization that my favorite ambient drone pieces are just as wonderful for deep listening as they are for putting on while concentrating on other tasks.. as well as putting on at bed time to lull you as you let your mind drift into sleep.
[6. REGARDS]
■ The A. O.: Leave us with a quote you love.
► virabelo: “Inspiration exists, but it has to find you working.” (Pablo Picasso)