top of page
Darren Porter

DESCRIPTION | There is a brilliant - SUB- GENRE of Progressive and Electronica - that sticks to the original definition of the term, (rather than just the Beatport Top 10) - which is focused on ; 'DEEP SPIRITUAL' stimulation, ..almost through a SENSORY synthesis - where the MUSIC and MIND become one.  Artists like ,'Sahsa', 'John Digweed,' and 'Laurent Garnier' champion this pioneering sound.

 

 Now ; a fantastic new artist by the name of  'Colin E. Fisher', whose emerging sound is clearly causing quite a storm in the Progressive community ..going with the ultra cool  Artistic name of 'SOUNDPRANK' - He has discoverd a new style of 'Cinematic Trance'.

MEMBERS ; COLIN E. FISHER  
LABELS | ANJUNABEATS / ENHANCED / ZERO 3 / LANGE RECORDIGS

ARTIST ; SOUNDPRANK

MANAGEMENT | PERCEPTION AGENCY

STYLE + TRANCE / PROGRESSIVE / ELECTRONICA / AMBIENT 
ORIGIN | CANADA
  • Facebook Social Icon
  • Twitter Social Icon
  • SoundCloud Social Icon
  • YouTube Social Icon
1.  Tell us, How did you start your musical carrer - did you train in 'Rock', Jazz or Classical Music ?
  •   I started in Jazz and classical music, playing piano and drums and percussion as a kid in symphony orchestras and jazz bands.
2.   Who were your musical influences growing up ? 
any favorite Bands or DJ's ?
  •  Growing up, my biggest influences, at least the ones that really stick with me today are Michael Jackson, The Beatles, Nine Inch Nails, Daft Punk, Boards of Canada. ..I’m sure I’m forgetting some though!
3.   Was there a BIG Techno Rave / Trance or E.D.M. scene in ; 'Canada' - growing up ?
  •   No not at all ! ..I was probably one of the only kids listening to electronic music that I knew of in my town.
4.   How did the name 'SOUNDPRANK' come about ?
  •   I was just looking for an alias to put my own music under, and didn’t want to use my real name, so I just started making pseudonyms up until I got to ‘Soundprank’ and it sorta just had this ring to it. I think the best way to describe it is, people don’t look at it and take it seriously unless they’re curious, my hope is that despite what may not be the ‘best’ artist name, it lets the music speak for itself. I decided early on that I would make this project about the music, and only the music. Not much has changed since, but I think it just further proves the point that
    people shouldn’t care about the name of an artist, whether it’s spelled with fancy fonts or upside-down V’s (I condone the use of one upside-down V) or whatever they use. The focus should only be on the music.
 5.   You say that - 'EVERYTHING IS AN INFLUENCE' - what do you mean by that statement ? are you talking about 'SAMPLING' or ... ?
  •  Nope, it just means exactly that. I get ideas about my music, or music I want to write for Soundprank or my other endeavors from the world around me, because I like to create music that helps accompany moments, feelings, thoughts, images of the world.
 6.   Working with a 'Progressive House' Label 'ANJUNABEATS' - You opened up a lot of ears to Progressive House ; what is the typical B.P.M. that you like to groove to ? give us some names of Progressive house artist that you admire ? 
  •  Well, thanks! Although I’d say I’m but a drop in the bucket compared to so many artists, but thanks all the same J. The bpm I write usually is 128 bpm, because it’s the easiest bpm to write dance music for that gets played in my own sets, along with getting played by Above & Beyond and many other dj’s. I also just feel that 128 bpm ‘grooves’ the best. I’m able to accomplish my artistic goal at that tempo easily without it sounding like… an over-caffeinated attempt to cram every idea in existence into 6 minutes or less with vocals that sound as though helium inhalation was involved.
 7.   What is the Status of the Label ; 'TEMPORUM' ?
  •   My buddy, 'Luke' - currently runs ; 'Temporum', I leave that up to him as he knows I’m very busy with my own projects ; and he’s better at running a label than I am.
 8.   The Track ; "LARGO" - is a true 'Progressive Trance' Cinematic stunner ; how long did it take to complete ? what is the meaning behind the name ?
  •   Thanks a lot! I don’t remember how long it took, maybe a few days, plus a few sessions afterwards to get the mixdown and mastering done. That’s usually how it goes for me. There really isn’t a meaning behind the name on this one, it’s just what sounded like a good fit.
9. Is the 'Virus' TI Synthisizer, still your favorite hardware ? or do you
have a new favorite synth board ? 
  •   This is a tough question because I do use the Virus still sometimes, but I find that with today’s advent of software synths, it really begs the question of how much time I can afford before I lose a creative idea. I have uses for the Virus, and it’s still one of the greatest digital synth because I can turn it on, start menu-diving and pulling out sounds I justwon’t think of with a VST synth. It’s something about having physical knobs that causes you to accidently switch something while your lefthand is playing the keys, and you’re suddenly down the rabbit-hole for 4hours. With VSTs, I usually have a very focused idea on what I want it to sound like and know how to do this, the accidents are just less frequent than with hardware.
 10.  What about the track - "DREAMER" - you use the name ; 'COLIN E. FISHER' - is that your soundtrack composer name ? or a different Artist 'GENRE' name ? and what was the inspriration of that fabulous song ?
  •   Yes, ..my moniker for my compositions is my own name. The inspiration for Dreamer was just to write a piece of music that was exciting to me and to create a world of sound in which it can live, with the various textures and movements it has.
 11.   You are getting ready for a - "NORTH AMERICAN TOUR" - with 'BOOM JINX', what type of music do you plan on playing in your DJ set ?
  •   The music I’ll play is my own mix of originals, mashups, and my favorite dance tracks of the past, present and future.
12. You are a fan of 'ABELTON' (D.A.W.) and resampling, and experimenting with recorded styles and mixing hardware ; would you like to share with us ? what 'PLUG-INS' do you use for your cinematic orchestral sounds ?
  • I have a lot of the sample libraries available, and am fortunate enoughto be able to create a lot of custom samples I use for my own projects. Ithink the best answer to that question is, don’t focus on what someoneelse is using, use what works for you. If you spend too long thinkingabout what others are using you won’t be spending enough time getting your own unique sound developed.
 13.  You were attending a University before, what was the objective of your time spent there ?
  • I went to University to earn my Nuclear Engineering degree. Once I did that I then worked as an intern-engineer for a while and decided to go full-on into music.
 14.  You are a fan of ; "MODERN CLASSICAL MUSIC"- can you give us the names of three composers that you admire ?
  • 'Austin Wintory', 'Tomáš Dvořák' and 'Ivan Torrent'.
17.  Is it diffucult to get into the 'SOUNDTRACK' Music Industry ? Is there a lot of work out there ?
  •  I get asked this question A LOT. Yes, it is almost impossible to get into the soundtrack/composer industry because of how competitive it is and the fact that most people won’t hire someone without experience - but to get said experience you need to get hired in the first-place. I started out working for other composers and doing a lot of sound design work to get the experience. I’ve worked on film-trailers, commercials, radio- ads, video games, done sound design work for companies and studios and more. So, you really need to be strong in multiple disciplines because “composer” these days really does mean a job (even though it doesn’t feel like a real job) where you carry on multiple responsibilities. There is a lot of work out there for the few who are able to do all these things well and who are able to keep their ego in check and interface well with others. Unlike the individual artists who are more on their own, the role of composer puts you in the middle of dealing with creative directors, studio producers & assistants, secretaries, engineers, musicians… You get the idea. What makes a ‘really’ strong composer is having all the abilities listed above and also being great with people.
16.  As far as recording soundtracks ? Are you a trained engineer ? or
self tought ; in that specific art of mastering ?
  • I’m 100% self-taught other than my musical instrument training.
15.  If you were stranded on an island, ..what "STYLE" of Music ..would you like to be listening ?
  • I’d want my Sennheiser HD650’s, headphone amp and DAC, and a laptop containing every film-score ever written. Some shade, good wine and good whiskey couldn’t hurt 

TR - INTERVIEWS

PROMO ..

TR - TRANCE

bottom of page