Francisco Sylla, November 2023
My journey into the captivating realm of sound and music technology began in my early years when I set out to learn to play the guitar and engage in various musical projects. Music, for me, has always held a profound and unbreakable connection, a universal language that transcends the boundaries of language and culture. The ability of music to convey an extensive array of emotions has been a constant source of amazement. It’s a medium that speaks to the soul, making it resonate in ways that words alone can’t achieve.
These initial experiences unveiled the vast and captivating world of sound technology. I began to take an interest in recording and mixing instruments, which made Garage Band a good friend of mine at the time. This gradual convergence of my interests and experiences eventually fueled my desire to pursue higher education in this field.
In 2018, I successfully earned a bachelor’s degree in Music Technology from Lisbon’s Music School, which equipped me with the skills required for creating immersive sound experiences. This program covered a wide range of topics, including recording techniques, audio mixing, acoustics, electronics, and more. My final projects include the development of a distortion pedal, more particularly, a fuzz one, as well as a sound redesign for Nadja Andrasev’s animated short-film, “The Sound of Licking”. Those were both very fun to do, with the first one delving into the electronic engineering side of audio and the latter one particularly capturing my interest due to its creative nature.
Later on I gained practical experience by working on diverse projects, including mobile games, films, and live sound engineering. One of the projects that stands out as a testament to my sound design work is the Mobeybou project, which involves creating mobile storytelling apps for children. Mobeybou focuses on using technology to nurture multiliteracies, collaboration skills, and intercultural sensitivity in children. As a team member, my role involved infusing these mobile storytelling apps with sounds and music that would transport young learners to various parts of the world.
The challenge of representing different cultures through sound and music was both enriching and demanding. It required me to delve into the musical traditions of various regions, comprehend the cultural nuances, and create soundscapes that were not only
engaging but also educational. For instance, in the „Mobeybou in Cape Verde“ app, I had the opportunity to explore the vibrant and rhythmic sounds of Cape Verdean music, aiming to make the experience as authentic as possible for children. Similarly, in „Mobeybou in Brazil”, I crafted a sonic journey through the rich and diverse musical heritage of Brazil.
Furthermore, I co-founded Producteur Collectif, a film production collective dedicated to bringing creative visions to life. Within this collective, I handle the sound aspects, both on set and in post-production. Our journey began in 2020 when a friend, João Lages, and I decided to pursue our shared interest in filmmaking. Over the years, our team has expanded to support various areas such as writing, production design, and overall assistance. Our latest films include „Sons do Vale“ (Sounds of the Valley), which won at the Segredos de um Vale Festival, „Isto não é um Debate“ (This is not a Debate), presented at Braga’s Festival Política and „Cativeiro“ (Captivity), with support from Zet Gallery.
Through my coursework and hands-on projects, I had the opportunity to explore various techniques and tools used in sound design. I learned to create sound effects, manipulate audio to match the mood of a scene, and experiment with synthesizers to produce unique sounds. It was during this time that I realized the profound impact of sound on the emotional resonance of visual media.
My particular fascination lies in sound design for visual media, and I aspire to further improve my skills in this area, encompassing sound synthesis, advanced post-production, and surround sound. These skills can be applied to various fields, such as film, games, or artistic installations. In the realm of film, understanding surround sound systems has become increasingly relevant as they have become very common formats. When it comes to gaming, I am enthusiastic about exploring dynamic ways of implementing music and sound that can adapt seamlessly to the ever-evolving gameplay, enhancing the overall user experience. I’m also passionate about creating music and hope to apply these skills to music production. In terms of music projects, I have had the opportunity to collaborate with groups like Compasso Quat, which I joined in 2012. This project focused on experimenting with various instruments and reinterpreting early recordings of Giacometti and traditional Portuguese chants. I also had the opportunity to play in different ensembles and more recently, I participated in an electronic orchestra project called ODE, which involved sonic exploration using electronic devices.
As I delve deeper into the world of sound technology, I am continually fascinated by its ability to shape and enhance various aspects of our lives. Sound is an essential part of our human experience, capable of evoking emotions, transporting us to different places, and adding depth to our everyday encounters. The ability to manipulate and harness the power
of sound is not only an art but also a science. This is what initially drew me into the world of sound technology, and it’s what continues to inspire me to explore and push the boundaries of what’s possible.
Currently, my professional journey is evolving as I engage in concrete projects developed by close friends. One particularly exciting project is an unnamed video game in an advanced stage of development. I’m interested in composing and producing the game’s musical soundtrack, having an opportunity to explore dynamic implementation techniques. With these techniques, I hope to transform linear compositions into music that adapts dynamically to gameplay, ensuring that the emotion and intensity of the music adjust to specific actions or situations in the game. Wwise, a widely-used program for implementing sound and music in video games, would be a valuable tool for this type of implementation.
Aside from the implementation aspect, the core of this potential research project lies in carefully crafting the music composition and production. This involves creating music for various game elements such as the menu, fight and exploration scenes, and more. I plan to utilize virtual instruments, manipulate sounds, and potentially incorporate live-recorded instruments if they align with the project’s objectives. Exploring different time measures and tempos could also be a key element of the project, serving as a tool to convey a wide range of feelings within the game’s environment.
