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.

Click the 'Contact' above to get in touch. Looking forward to hearing from you.

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