Remo De Vico
Composer and sound designer based in Cosenza, Italy, working mainly for theatre and cinema, and — the reason he’s here — the author of a large set of free-to-download Max for Live devices and Pure Data patches (remo-de-vico-site).
His stated position: “music is any sound capable of creating an inner image.” The site describes his scoring as “an eclectic and multiform range of musical styles and techniques, using MIDI, texture ambient and dreamy atmosphere,” aimed at “coloring profound and psychological landscapes to all the scenes.”
Training
An academic electroacoustic lineage, which is unusual in this corpus:
- Degree in literature, music and entertainment, La Sapienza (Rome) — thesis on Luciano Berio, supervised by Antonio Rostagno.
- Cosenza Conservatory — visual structures in free jazz, and singing.
- Santa Cecilia Conservatory (Rome) — composition in electroacoustic music with Giorgio Nottoli.
- Seminars and masterclasses with Francis Dhomont and Mario Bertoncini.
Dhomont and Nottoli put him in the acousmatic / electroacoustic tradition — composing with recorded and synthesized sound as the material — which explains a device collection weighted toward generative and texture tools rather than mixing ones.
The composer as toolmaker
Most of the spoke’s tool authors are developers or studios who sell or give away plugins as their work. De Vico is the first whose tools are downstream of a scoring practice: patches built to solve his own theatre and film problems, published because publishing them is free. He also writes about the field — the Musical Mirror essays cover Raymond Scott, Ligeti, Robert Moog, Daphne Oram, Isao Tomita, vector synthesis, generative music, and the business side (rights organizations, sound libraries).
Compare dillon-bastan, the other individual M4L author here, whose devices are the practice.
Related
remo-de-vico-site · patching-environment · dillon-bastan · granular-synthesis · audio-effect-plugin