Nigel Wilson on SoundBetter

Scorching leads, sultry pads, simmering plucks...hit me up to discuss what you're looking for so I can get you exactly what you need. Rapid, affordable, in-person or remotely recorded.

Available for all levels and phases of production. Synths, Piano, Accordion primarily. String, Brass, Woodwind orchestration. Fmod for adaptive game soundtracks. Berklee Graduate.

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Credits

1 Reviews

Endorse Nigel Wilson

by Samuel Small
Nigel is a wizard. From his integral role in my own music to working with him on sessions, I am always in awe. Nigel has a touch that brings the pop of an Abba record, the melodic tides of a Liszt symphony, and the psychedelic enthusiasm of the sixties together under a spell uniquely his own. Music aside, he’s a fantastic guy and carries enthusiasm and a loving spirit with him wherever he goes. In short, I can’t recommend him enough.

Interview with Nigel Wilson

Q: Tell us about a project you worked on you are especially proud of and why. What was your role?
A: I really loved working on Beyond the Black Door. being a part of the game's development at such an early stage allowed me a lot of time and creativity in my compositions and in the ways sound was able to function and enhance game mechanics. As composer and sound designer, It was a very special opportunity to apply a holistic and all-encompassing approach to the sound of such a specific and high-concept game.
Q: What are you working on at the moment?
A: I'm currently putting the finishing touches on a symphony I've been working on. Shifting parts to better work together; I am in the late-stage arrangement phase and it's time consuming and it's a joy!
Q: What's your 'promise' to your clients?
A: You're gonna love what you hear.
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: One 808 and four SH101s.
Q: What's your strongest skill?
A: not writing bios, that's for sure.
Q: What's your typical work process?
A: I prefer, time permitting, to get a chance to listen to a new track for a few days before going in to the studio. I find that with time and a little patience, very interesting and complex relationships can be developed within a piece of music. So basically I listen to a single track over and over and walk around a lot, then I record every idea I have out the ideas I think came out best.
Q: Tell us about your studio setup.
A: I recently reorganized my gear to better accommodate streaming; as such, I have a precariously full synth rack opposite my piano. With the multi-camera set up, it makes for very easy communication for remote projects!
Q: Analog or digital and why?
A: This is an arbitrary and classist comparison of two completely different systems of design which each have areas in which they are or are not appropriate selections.
Q: What do you bring to a song?
A: Instrumental virtuosity, passion, and an elegantly weird aesthetic.
Q: What other musicians or music production professionals inspire you?
A: David Bowie and Brian Eno’s work together really showed me the limitless creative potential of electronic music. I love the disparate influences cited by Beck. Wendy Carlos, Mort Garson, and Isao Tomita will always be at the top of my list of synthesizer pioneers.
Q: Describe the most common type of work you do for your clients.
A: Often, clients are looking for ear candy or a hook of some kind. I find the elements within a song that i find most exciting and work to expand upon and accentuate those elements