VIRHARMONIC: TELL US MORE ABOUT YOURSELF SEAN, HOW YOU CAME TO WRITING MUSIC, WHAT MUSIC MEANS AND DOES FOR YOU TODAY?
SEAN: I come from a very musical family, but didn’t get really interested in music until I was 12 years old when a neighbor’s young son came over to my house with a $50 Casio electronic keyboard. It didn’t even have real keys, just buttons, but it absolutely amazed me once I started pressing buttons and sound came out. The father of the boy had a much nicer Casio with keys and I asked him to bring it over while my uncle was visiting us. My uncle Dan was an accomplished jazz pianist who even toured with the Jordanaires for many years. Once I saw my uncle perform on the Casio, I instantly, and without a shred of a doubt, knew that I wanted to compose music. My father actually took a picture of me watching my uncle play the Casio on that life-changing day for me, and there is a look of utter amazement on my face. From that day forward, I started accumulating electronic keyboards and synths and taught myself to perform and write, as I never had any formal music education. Composing music has been one of the most positive and gratifying things in my life, and I could not fathom not composing for the rest of my life. Every time I compose a meaningful track, I thank God for giving me musical talent and letting me be a vessel for just some of the beauty that the universe has to offer.
VIRHARMONIC: WHAT WAS THE MOST INTERESTING PROJECT YOU HAVE WORKED ON AND WHICH PROJECT DID YOU ENJOY THE MOST?
SEAN: For many years I have written tracks for television, but to tell you the truth, that has never been as enjoyable or gratifying as the work that I have done for my last 2 albums, “Sojourns” and “Transcendence”. On those albums I got to work with some incredible talent, including 2 amazing Sopranos (Kristi Holden) and (Kristen Herztenberg) and an incredible violinist (Andrew Sords).
VIRHARMONIC: WHILE ON TOPIC OF PROJECTS YOU HAVE WORKED ON, WHICH ONE DID YOU FIND THE MOST CHALLENGING AND WHY?
SEAN: Both “Sojourns” and “Transcendence” were very challenging. On those albums I used a small string ensemble, solo string performers, a bagpipe ensemble, a children’s choir, a solo boy performer, and 2 sopranos. All of these live performers were blended with sampled string and vocal libraries……..including Virharmonic’s most excellent vocal libraries of course. J Having everything blend together, giving the listener the illusion that everything was recorded with live performers, is very important to me……but it can be often challenging.
VIRHARMONIC: YOU HAVE OWNED OUR LIBRARIES PRETTY MUCH SINCE DAY ONE OF VIRHARMONIC. HOW DO WE FIT INTO YOUR PROJECTS AND YOUR WORK?
SEAN: On “Transcendence” I blended Virharmonic’s libraries with other vocal sample libraries, but on the new album that I am currently writing, I will be using all 3 of Virharmonic’s vocal libraries……since they now all encompass nearly the entire spectrum of vocals that I enjoy writing for. Voices of Prague, Soloists of Prague, and Czech Boys Choir all blend together very well and with a little effort you can achieve a performance that sounds like an actual choir session recording…..which is why I credited your choirs by name on “Transcendence”.
VIRHARMONIC: IF YOU HAD TO PICK ONE OF OUR CHORAL LIBRARIES YOU COULD NOT LIVE WITHOUT, WHICH ONE WOULD IT BE AND WHY?
SEAN: To be honest, I wouldn’t want to be without any of them……as they all contribute something unique to my writing process.
VIRHARMONIC: NOW A LITTLE BIRDIE HAS TOLD US THAT YOU ARE WORKING ON A NEW CD...IS THERE SOMETHING YOU COULD SHARE WITH US NOW?
SEAN: Those birdies do have loose beaks. LOL Yes, as I mentioned earlier, I am indeed currently writing a follow-up album to Transcendence which will feature the amazing Tina Guo (Link to Tina Guo) on cello I am shooting for a spring 2016 release, but check my website for updates.