Together really pushed me to take a lot of the experimental ideas I’d been toying with and run with them. Early on, I landed on the concept of sympathetic resonance as a thematic thread. It felt like a beautiful metaphor for the film’s emotional landscape. In physics, sympathetic resonance is when a passive object vibrates in response to external frequencies that match its own harmonic identity. That idea – of one thing responding to another without direct contact – was conceptually perfect for the story.
To explore it sonically, I built a metal box filled with springs and mounted a contact mic inside. I blasted music into it through a speaker, and the resulting resonances were wild and unpredictable – this metallic, ghostly bloom that became the atmospheric backbone of the score. Then by shifting the pitch of the input material, I could create moments of tension and release, almost like the music and the springs were in a push-pull conversation.
I even tried to replicate some of that behavior in Guitar Rig. It wasn’t the same, of course, but playing with the ResoChord component gave me similarly satisfying harmonic movement. It was a great way to blur the lines between acoustic oddity and digital control.
Pro composing tip from Corrnel Wilczek: Modifiers Rule. Effects are great, but effects that move are even better. Guitar Rig’s Modifiers are a secret weapon for evolving a sound in dynamic, unexpected ways. Try assigning the same modifier to very different parameters across your chain. You’ll often end up with textures that feel unified, organic, and just weird enough to be interesting.
