SIP - SoundLAB Interview Project

Cibils, Osvaldo

Osvaldo Cibils
artist from Uruguay




Interview: 10 questions

1. When did you start making music, what is/was your motivation to do it?
I started to produce sounds seriously in 1997 because I needed them for my flash animations.

2. Tell me something about your living environment and the musical education.
I do not have any sort of musical education, but I did not have any artistic education when I was 9 years old either, when I began to produce art works with a certain sensitivity which stood out from those that surrounded me. Obviously, as time went by, I developed this sensitivity with daily practice
and studies about art, visual communication, electronics, agriculture and mathematics.
In my house, around the sixties and the middle seventies, people used to listen to folk music and Uruguayan songs of protest, kind of revolutionary
ones with a strong socio-political content. My personal revolution was to scratch disks in specific places in order to generate “loops” which allowed
me to focus and draw for a long time. Obviously this action led me to some familiar conflicts. Now that I remember, I could add that my first experience with electronic music was when I was 4 years old when I connected the earphone of the “spika” radio to the 220 volt plug trying to “listen to the sound that produced the electricity”; a really disgusting experience, by the way.

3.Is making music your profession? What is the context in which you practice music nowadays?
Making music is not my profession. It is just that I am an artist, so I dare to experiment with any medium that is possible, like anyone
who wants to do something with all the available media.
I keep on making sounds in order to use them in my videos and animations, but sometimes some pieces that do not need any visual
complement and that make me happy appear. Now that I am thinking, since three or four years ago I do not know what I do first, if the image or the sound.

4. How do you compose or create music or sound? Have you certain principles, use certain styles etc?
I start to work with annoying noises in order to expose my brain to the biggest possible confusion. After that, I begin with a depuration or
exasperation until I get to that that I want to listen to, a sound which results nice and hairy, I like to call hairy to those rumorous and without any melodic feeling.

5. Tell me something about the instruments, technical equipment or tools you use?
The only instrument that I play, and very badly by the way, is the bongo, really playing the bongo only helps me to warm up my hands in winter before doing any physical-manual work as drawing or painting. In order to produce my sounds I use my computer; I rarely use a sound recorded in a specific place; and I work with a variety of software’s, plenty of them, I download from the internet free software’s or demo versions with which I generate lots of industrial sounds, then I export them to other software’s until I find the appropriate sound to my necessities of the moment. Later on, I leave them
in standby for some weeks or even months. After this period I re-listen to the sound and, if it causes a psycho lost in any area of my unconscious,
I consider it optima, useable and ready to be widespread.

6. What are the chances of New Media for the music production in general and you personally?
Music I do not know. I do not make my music; I am not able to do it. I associate the music with something too professional, something too elaborated, and in that point I haven’t felt that excited in any area of my artistic work. what I just try to do is to produce more sounds which are able to contribute to the universal sonorous system.

7. How about producing and financing your musical productions?
Let’s say that I have a survival work. The art has always been on me. I think that it hasn’t existed and won’t exist anybody who would invest a cent in what I do. Some time I received an economic prize but absolutely out of proportion regarding the time that takes me the elaboration of an artistic offer.

8. Do you work individually as a musician/soundartist or in a group or collaborative? If you have experience in both, what is the difference,
what do you prefer?

I work individually. I wouldn’t know how to make a relationship with another soundartist. Maybe a production through internet, would interest me a lot if I found the appropriate and available person.

9. Is there any group, composer, style or movement which has a lasting influence on making music?
I think that what I have liked the most and probably what has influenced me more is a cassette of POLE songs that somebody gave me in 1999.

10. What are your future plans or dreams as a soundartist or musician?
I never have a plan, I have never needed a dream.