INTERVIEW


COMPOSER & PRODUCER

GILDE FLORES

At the beginning, I was always told to stay in a box or focus on one path, but I always had a drive to do it all (score, catalog music, trailers, etc.) and so I made it a mission to do just that.

GILDE FLORES


Award winning multi-genre composer and producer Gilde Flores known for his work on The Wolverine, Far Cry 4 and in the audio / visual / music industry takes us through his start as a musician with encouragement from his father, drawing inspiration from years of touring and his drive and intuition to think outside of the box.


We’d love to hear how it all began. How did you get started as a MULTI-GENRE composer AND PRODUCER?


My father had a band and had trouble keeping dedicated musicians, so he gave me access to a bass and guitar and encouraged me to learn the basics. I took it rather seriously and spent most of my time practicing which eventually led to me becoming a touring musician.  

This journey lasted from the age of 16 to 27. I gained so much knowledge in music through this experience and in multiple genres. Aside from performing, I also spent time in recording sessions, which after my touring days, led me into sound engineering. I ended up employed as a chief sound engineer for a couple of years (searching for my place in music) and it was in that time that I engineered a few projects working with a veteran producer which introduced me to the role of a “producer.” I decided that’s what I wanted to do and from that point on I got myself on a strict disciplined learning process and taught myself production, orchestration/composing, and after a few years and building a small catalog of work in multiple genres, I started my career by networking and sending out emails. Eventually, in 2012, I got a break from a publisher and I've been moving forward ever since still utilizing the same discipline/process.  

Also to note, during this time I also embarked on an academic journey (Texas Tech University) in counseling, graduating in 2015, but stayed focused on the music path…my calling. 

What moment(s) in your life do you feel helped form the artist you are today?


I would definitely say the years of touring. I had the privilege of sharing the stage with some amazing bands and artists, as well as musically inclined band mates that naturally inspired me to continue to raise my skill level. I was fortunate enough to open up for some of my favorite major bands, getting to meet and chat with the members, which at the time I wasn’t aware, but acted as a form of networking which led me to reconnecting with them later in my professional producer career and working, setting up projects. 

Your work has spanned across film, tv, and multimedia. What would you say your biggest take away has been from being in such diverse environments?


My biggest take away has been the evolution of my gift/skill. I stay learning and adapting on ANY downtime and moments away from my gear, which is how I believe I’ve been so fortunate in being a chameleon between all of the mediums. At the beginning, I was always told to stay in a box or focus on one path, but I always had a drive to do it all (score, catalog music, trailers, etc.) and so I made it a mission to do just that.

How do you approach collaborating with others?


When it comes to collaborating with others, it’s a whole different process, and depends on how the collaborator is used to creating. I take pleasure in hearing a different perspective, so I usually like receiving an idea or a direction and just start contributing from that. It’s usually finding a common ground on what one loves doing, and just going from that.   

 

If it’s an ongoing project which I’m pulled on, I usually get references/direction, a palette of sounds, and jump in with the focus on the end result. Collaboration has given me the opportunity to be a part of some huge projects, so I always look forward to it.

Do you have any methods or practices that help spark new ideas?


Back some time ago, I used to create loops for Big Fish audio and a few other loop vendors.  I developed a process of creating in a loop/bars routine; which consisted of folders with different types of categories. I would take a part of the day to create bars of melodies, drum/percussion patterns, and all types of loops.  

 

I find this method useful to this day, as it helps me create in half the time, especially with TV music since I already have fragments of ideas created. I keep my sounds categorized by folders/genre, and I still take the time to create audio/midi loops for myself on days between projects, or downtime. This keeps me from getting writer's block or stuck on starting a project.  

We’re honored to have you as an Emergence Audio user, how do our instruments help in your creative process?


Proud to be! For me, I’ve always seemed to have a tough problem finding pads/atmospheric sounds, sounds with movement and sustained, yet sounding like they evolve, which with Quantum that made it possible. Doing underscore became much more exciting and interesting without distracting. It stays right where it needs to, and that is priceless. I’m still exploring and using it every chance I get. Majority of my workload has been production in genres that don’t allow it to do what it does best, but that’s about to change soon enough.  

What are you currently working on? 


Being that I’m multi-genre’d and work in the “visual media” realm, I’ve recently worked on a handful of projects, including a 10 episode family series for HBO Max titled, The Garcias, which is a reboot/sequel to the hit Nickelodeon show, The Brothers Garcia (2000-2004). I've also worked with Naughty Dog for the trailer for the remake of Uncharted: Legacy of Thieves.

 

I’ve been fortunate to consistently provide music for briefs and catalog work for sub publishers (with Universal Production Music), a handful of trailer music publishers, (also working from briefs for custom production and upcoming albums). I’ve also stayed active working with publishers, music supervisors, and production houses that reach my way almost daily with whatever musical needs/pitches on hand.  

 

I can definitely keep going, but I’ll just say I stay steady busy with all the great networking relationships I’ve established throughout the past 7 years of freelancing.