A Quote by Santhosh Narayanan

I have recorded with a 60-piece orchestra, and it gives me satisfaction to have done an album entirely with acoustic instruments. — © Santhosh Narayanan
I have recorded with a 60-piece orchestra, and it gives me satisfaction to have done an album entirely with acoustic instruments.
I made music on Seven the same way as on the other albums. I only used acoustic instruments... I'm looking for instruments that have vocal sounds, forgotten instruments like the guimbri... The first and second albums were about the voice, what came before. This album is about introducing those sounds into modern, Western life.
I'm pursuing soundtrack work in the southern California area and down the line I plan to make a moody, intense acoustic album. Not all acoustic, but an acoustic - oriented guitar record that I've already written most of the material for.
My stuff was more of a folk coffeehouse thing, with more acoustic guitar, just me doing a single, and then adding on instruments and voices, with emphasis on lyrics and singing and light kind of acoustic jazz.
I trust microphones, speakers and recordings less and less, and no longer buy into the idea that I can recreate at home, or in my earphones, the experience of hearing live acoustic instruments. The orchestra is already a set of speakers that react differently to each player, each room and each concert - it's that high level of uncertainly and unrepeatability that I like. The music is just soaked into the walls of a room straight from the instruments - and it's a one-off deal. The alternative - left speaker, right speaker - is kind of a compromise.
Mumford & Sons have really opened up everyone's ears to music with instruments again, acoustic-based music... it's reassuring for people like me who have been brought up on acoustic guitar.
I got a chance to have my dream come true, and I wanted to make sure I made the decision as to when I dropped my last album. If I don't feel like this album is an incredible piece of work, then I'm cool with the albums I've done. I don't have to put out another album.
I never thought I would do an all-acoustic tour or an all-acoustic album.
The first album, for better or for worse, was done over from the ages of 17-22, with a couple of different producers. Some of it was recorded in an old swimming pool, some of it was recorded in a synagogue - it kind of was all over the place.
I used to think that if I had success I would have freedom. But I have less freedom now than I've ever had. And what gives me satisfaction is not the jewelry and not the cars. What gives me satisfaction is doing things for others, like children.
I'm not the hugest fan of pop music and electro music, which is why 'The Inevitable Album' was entirely live instruments.
'Sinister' is the first score I've done in which there's no orchestra in it whatsoever. There are traditional instruments I sampled, then manipulated, so you don't even recognize the source anymore.
I use all types of instruments, really depending on the film. Instrument choices are very much tied to lighting, colors, art direction, as well as the narrative elements. I have a great collection of vintage synths, and of course I do like to write for acoustic instruments. I find the depth and intricacy of sound and emotion you can get with acoustic ensembles extremely versatile and effective in the overall sound environment. Also, the human aspect of performance is such an important part of the music score to character connection.
A woman's life in the orchestra is not as long as a man's; she is just not as good at 60 as a man is at 60.
At first, when my agent told me, 'They want you to do an interview, a piece for '60 Minutes,' I was like, 'What is '60 Minutes?''
I'm constantly revising and updating a piece until it's finally recorded. Once it's recorded, then it's over.
I was in orchestra in high school, but I really started when a friend of mine who's a drummer showed me some things. I was always just really fascinated with drums, it was the instrument I was always drawn towards. My ear sort of went to rhythmic aspects of music and songs. But he really was the beginning point of starting me on drum sets; like I said, I was in the orchestra first and I was playing orchestral snare and mallet instruments first.
This site uses cookies to ensure you get the best experience. More info...
Got it!