Paul Haslinger
Austrian-born Paul Haslinger has secured a reputation for composing film scores incorporating robust classical elements and compelling electronica. Formally trained in his hometown of Linz, Haslinger journeyed to Vienna, where he continued his classical studies while simultaneously exploring the new domain of electronic music. Auditions for the band Tangerine Dream led to a five year collaboration, four albums, and several films, including 'Miracle Mile', 'Near Dark', and 'Canyon Dreams'.
After his 'Dream' period, Haslinger released three solo albums and scored two landmark animated science fiction films, 'Planetary Traveler' and 'Infinity’s Child'. He continued perfecting his film scoring skills as the programmer for Graeme Revell, supplying memorable textures and atmospheric style to 'Blow', 'The Negotiator', 'The Siege', 'Pitch Black', and 'Tomb Raider', to name a few.
2002 found Haslinger composing and producing musical segments for Steven Spielberg’s thriller 'Minority Report'. In 2003, he scored Len Wiseman’s 'Underworld', his first film to open #1 at the US box office. In recent years, Haslinger has made a conscious effort to expand and diversify his work. His score for the Ubisoft/Xbox release 'Far Cry: Instincts' was enthusiastically received by the gaming community. His work on the Golden Globe nominated series 'SleeperCell' received wide critical acclaim for its integration of Western and Middle Eastern music elements.
Thanks very much for taking the time out to have a chat with Camel Audio. Could you introduce yourself.
Paul Haslinger. LA based composer, producer & recording artist, formerly associated with Tangerine Dream.
How did you get into writing music?
My family owned an old, fairly beat-up upright piano. It is reported that when I was about 5 years old, I color-coded some of the keys with my sister's nail-polish, which I later explained was a better way to remember certain chord combinations (as opposed to tedious sheet music). So, I guess from very early on I showed a strong will to impose structure on perceived chaos, and only my means, but not my determination has changed.
What projects have you used Camel Audio software on?
I discovered Camel Audio with SuperCamelPhat and have been a big fan ever since. The list of projects would be too long, simply because I've used these plugs on every production since, in one form or another.
What do you like most about Cameleon 5000?
Spatial functions. The different synthesis model. Great for developing ambiences and atmospheres.
What do you like most about CamelSpace and CamelPhat?
First and foremost I like the sound character of these plug ins - just like with music: you know it when you hear it. In addition, I find them very musical to use, and they are as inspiring creatively, as they are functional and reliable tools for more mundane tasks such as filtering and compression. I use them day in & day out, and they never let me down.
How do you use CamelPhat and CamelSpace?
I do find CamelPhat particularly useful for anything that needs punch and low end saturation. It is great to warm up and punch up drum loops and bass.
CamelSpace I use a lot on guitars, especially for adding a few more dimensions on rhythm/strummed guitars. Also great for dub-echoes. It always retains a quasi-organic quality, which perhaps makes it work so nicely with stringed instruments.
What do you think of the Biolabs Absynth sound sets?
I have used Biolabs sound sets in each of my recent projects and find them inspiring across formats and styles. They allow project-specific control and performance, and much more expressive use than any regular sound or sample stock. Kolin Fraser is a fellow-artist who understands how music is written and produced these days, and he translates that knowledge into sounds that speak to the times. Keep it coming!
What are your plans for the next year?
More music for films, games and TV. Maybe I can squeeze in an album or at least a soundtrack here or there, but generally speaking I'm just happy to go with the flow.
