Richard Devine
Occupation:
Artist, producer, remixer, sound designer, programmer
Official Website:
http://www.richard-devine.com
Background:
With four full-length records to his name as well as countless remix credits, Richard Devine is one of the most well respected names in electronic music. Known for his twisted, evolving soundscapes and glitchy percussion, Devine is equally in demand for his skills as a sound designer and film composer. His unique approach to music composition has led Devine to develop his own signature sounds and instruments, and he has worked with top MI companies to develop new software and products.
During the past three years, Devine has remixed top artists like Aphex Twin and Mike Patton (Faith No More). He has released four full-length albums on Schematic, Warp, Asphodel, and Sublight Records - performing his own music worldwide. Devine has done film score work for Touchstone Pictures and collaborated with BT (Brian Transeau) on the movie Surveillance. He has done sound design and programming for Trent Reznor of Nine Inch Nails, composed and designed commercials for Nike, and completed sound design for Audi, Ford, Scion, Coke, Land Rover, Peugeot, Dodge, HBO, Nestle, Nike Japan, McDonald’s, Sprite, Spike Television and XBOX (Halo2). He worked with Konami Gaming Division for the Dance Dance Revolution game and is currently working for Sony PlayStation PS3 on Dawn of the Dead.
In conjunction with his TV and film work, Devine has additionally done programming and sound design work with major audio companies. His work has been featured on new software and hardware titles from innovative companies such as Native Instruments, Izotope, WayOutWare, Eventide, GRM Tools, Korg, Clavia, Nord, Alesis, Ableton, Apple, Digidesign, Openlabs, Universal Audio, Hartmann, Stanton Magnetics, Roland, Propellerheads, and M-Audio.
Richard Devine
Worked with: BT, Trent Reznor, Aphex Twin, Mike Patton, Apple, Ableton, Nike, Scion, Land Rover, Dodge, Audi, LG, Ford, HBO, Spike Television, Microsoft Gaming Division (Halo2), Sony PlayStation, Konami and more
Selected Artist Credits: Lip Switch (Warp/Schematic 2001), Aleamapper (Schematic 2001), Ascect: Dsect (Asphodel 2003), Cautella (Sublight 2005)
Richard Devine on M-Audio hardware: “The Delta 1010 is my main interface, where I run all my synthesizers and tone modules into. The 1010 has really nice A/D converters and logical audio routing makes it easy to do sessions with. It has proven itself as a workhorse interface that I still use on many sessions for film and TV work. I also use the M-Audio Ozonic controller/audio interface for everything now on the road. It has become my new personal all-in-one workstation audio device and is one of the most innovative pieces I own. It’s a microphone preamp, high-quality sound card and powerful controller all in one package. I have used it on numerous TV commercials, movie scores, sound design projects and live shows. I never leave home without it.”
Richard Devine on M-Audio software: “I use Pro Tools 7 and Ableton Live all the time for my music production and sound design. Ableton is one of the most revolutionary software applications to come out in recent years. I love how easy it is to piece together ideas and construct loops with Ableton. It has totally helped me work in new ways that I never thought would be possible. I have done several collaborations this year using Ableton. The time stretching/ compressing algorithms have been extremely helpful in throwing any material together and working it into something new.”
What defines his sound: “I usually approach songwriting and composition from a sound designer’s perspective. I consider myself to be more of a sound designer collage artist. I piece fragments of sounds and process them into something new and unique. I have always tried to push the boundaries of what could be considered electronic music and take that to a new dimension. My philosophy is simple. I keep everything detailed and non-traditional. Hopefully, the listener will experience something new and profound after hearing my work.”
Notes from the trenches: “I worked with BT on a film called Surveillance and I used the Oxygen 8 v2 as the main keyboard controller for all my sound design and composing needs. It was portable enough to work anywhere. We also used the M-Audio MicroTrack 24/96 to record all of the outside source material. Those little recording rigs are genius. I was really impressed with how well they held up and the sound quality was amazing. In early 2006, I was working on Mike Patton’s (Faith No More) new solo album where I used the Ozonic keyboard as my main interface and sound card. It proved to be the best solution for my traveling needs on the road.”
Why M-Audio? “I have always had really good experiences with all of the M-Audio gear. I love the Evolution controllers and the Oxygen keyboards. They work effortlessly with my software and are very road savvy. I just started using the M-Audio 8-channel Octane preamp, and have been using it on all my 5.1 surround recordings. It has proven to be a wonderful front end to my digital recording system. I have been using that in conjunction with the M-Audio Solaris microphone. It has been a really incredible microphone for recording ethnic drums and stringed instruments. The detail that one can capture is unreal. There are so many positive things I could say about the hardware and software that M-Audio releases. I could be here for days talking about it.”
