The Making of… ‘True Chime — Psychological Signature Bells’

The latest Gothic Hybrid release focuses on unique, mind-bending signature bell sounds wrapped in tense and suspenseful atmospheres. A warped journey into psychological mystery and suspicion. We spoke to João Gabriel Rodrigues, Ioannis Gutevas, Erick Bolívar, Giovanni Tria and Andrii Yefymov about how they created these unique, signature tracks.

Was there anything in particular from the world of film and TV that influenced you whilst writing these tracks?

IG: Yes, definitely. As a composer, I draw inspiration from a variety of sources, including other films, TV shows, and even real-life events. For this album, I was particularly inspired by the true crime genre and the way it portrays the psychological and emotional impact of criminal behaviour on both victims and perpetrators. I also drew inspiration from the way sound and music are used in psychological thrillers to create an atmosphere of tension and suspense, keeping the audience on the edge of their seats. I wanted my tracks to reflect this same sense of tension and suspense, while also adding my own unique touch to the sound design using bells and processed bells.

EB: Although not exactly the kind of music that Daniel Licht composed for the show Dexter, I do imagine that kind of complex character. I envisioned the kind of solitary character that can’t help his/her dark urges and ends up in the most bizarre situations.

GT: I was really impressed with the sound design work on the latest season of Strangers Things. The quality of sound design throughout the season is really great. The sound of the grandfather clock that was used in the series was one of the sounds that struck me the most, from a sonic point of view but also for its meaning and the way it was utilised.

So I would say that the use of sound design in Stranger Things and the sound of the grandfather clock in particular are what might have influenced me, perhaps more on a subconscious level for this album.

AY: Not really… as always I’ve imagined my own fictional scenario!

A big part of the brief was creating and incorporating truly unique bell sounds into your tracks, how did you go about creating these sounds?

IG: Creating unique bell sounds was definitely a challenge, but also a lot of fun. I spent a lot of time experimenting with different ways of processing and arranging bell sounds until I found the right combination that created the desired effect.
One approach I used was to start with traditional bell sounds and then process them in unconventional ways to create new and interesting textures. For example, I used granular synthesis to chop up and manipulate bell samples, creating effects that added a sense of unease and unpredictability
Overall, the process of creating and incorporating truly unique bell sounds into my tracks required a lot of experimentation and creativity, but it was a rewarding experience that allowed me to push my boundaries as a composer and sound designer.

JGR: There were truly loads of experiments. Searching for “obscure” sample libraries with any sort of percussive sound to it, and then processing everything until the end result was something truly unique.

EB: After experimenting with a few bell libraries and sounds, I added some detuned vintage delay. I realised that this simple trick made the unsettling sound that I needed for these bells. I also experimented with a bit of saturation in order to enhance the harmonics. Adding long reverb also helped sustain the notes for longer in order to write sparse and simple melodies. I combined three or four distinct bell samples in each composition. I made sure that all these bells sounded different from one another and that their tuning was slightly off when combined.

GT: For this track I used quite a lot of recordings of church bells I recorded in France and Italy, where I often travel to (I love their sound!). I also utilised the sound of anything that could resemble, or sounded like, a bell, even remotely, such as desk bells, bike bells. I also utilised the sound of an empty metal tank being hit with different objects and the sound of a big metal pot being hit with a wooden spoon.

I then used many sound design techniques to blend different layers in an original and musical way in order to create the signature bell sounds on my track.

Some of these techniques include stretching, shortening sounds (this was useful to create percussive parts), pitch shifting (also automated to create the falling effect), reversing (to create risers or whooshes) combined with various effects.

AY: Definitely my approach was to record things live. I’ve sampled a bunch of various stuff that on my opinion had that “bell”-type of sound (including clothes hangers in my wardrobe 😅). Blending these samples with a pinch of processing was my way to go.

Did the creation of these unique bell sounds dictate the other composition elements of your track? Or was it the other way around, did the bells come later in the process?

IG: The creation of the unique bell sounds definitely played a big role in shaping the other composition elements of my tracks. The challenge of incorporating bells into the tracks in a creative and original way meant that I had to think more carefully about the overall structure and arrangement of the music.
I found that the bells often served as a starting point for the composition, with other elements being added in around them. For example, I might start with a simple bell pattern and then build on it with other percussion and rhythmic elements to create a more complex and propulsive groove. Or, I might use the bell sounds to create a sense of tension and suspense, with other elements like strings and synthesizers being added in to enhance that mood.
So while the bells weren’t always the very first thing I added to the tracks, they definitely had a big impact on the overall composition process and the way the tracks evolved.

JGR: The bells were the very first thing I created. The track was truly born from these sounds. It’s almost as if the track itself is secondary, and the soundscape takes the front row.

EB: The bells dictated the direction of each composition. I tried to write sparse motives that weren’t intentionally “catchy” because I wanted the effect of out-of-tune bells coming from the distance and not a singing melody. I structured my compositions based on pacing and sensation rather than on a song-like hook that I could sing along with. My goal was to make the listener feel like something bad is about to happen but we don’t know when yet.

GT: To me the bell sounds were the most important thing for this brief, so they had priority over everything I did. I initially created a series of unique bell sounds, bell-based sound fx and pads, then I let them inspire me for the rest of the work.

Of course I did create other bell sounds after most of the elements of the track were put down too, when I felt I needed more in certain parts of the track.

AY: I usually start with signature sounds and the soundscape, same here — first I’ve created my main sounds. Then I put them on a canvas and give them a fitting soundscape. The rest of the track painted itself around this.

Did you gather inspiration from any other music that contains this kind of warped signature sound?

IG: Yes, I definitely gathered inspiration from other music that features unique and warped signature sounds. In fact, I think it’s important as a composer to be aware of and draw inspiration from a wide range of musical styles and genres.
In terms of this particular project, I drew inspiration from a variety of sources, including contemporary electronic and experimental music, as well as film and TV scores that use unconventional sounds and textures to create tension and atmosphere. I also listened to a lot of music that features bell sounds, both in traditional and non-traditional contexts, to get a better sense of the sonic possibilities of these instruments.

EB: Not really, I experimented quite a bit until I found the detuned sound that inspired me to write these tracks. Once I found it, everything else flowed very easily.

GT: None in particular to be honest. But I do like the use of chimes in orchestral music for dramatic effect. So I thought it would be a nice touch to use them in my track too, on their own but also layered and processed with other bell sounds.

AY: No, I wouldn’t say that. Of course I listen to trailer music (and other genres) all the time and collect some references from time to time… but not during the work on this particular track.

Is there a particular usage you can imagine your track fitting perfectly with? A particular film or TV series?

IG: While I think that the tracks I composed for this project could work well in a variety of contexts, I do think that they would be particularly well-suited to certain types of films or TV series.
Given the focus on true crime and psychological tension in the brief, I could imagine these tracks being used in a crime thriller or mystery series that has a darker, more twisted edge. I think they could work well in a show that focuses on the psychological battle between a detective and a narcissistic psychopath or serial killer, where the tension builds slowly over time and the audience is kept on edge throughout.
I could also see these tracks working well in a true crime documentary or podcast that explores the darker side of human behavior. They would be a great fit for a series that focuses on the psychological motivations of criminals and the complex investigations that are required to catch them.
Overall, I think these tracks would be a good fit for any project that requires a sense of tension, mystery, and psychological depth.

JGR: Killers of The Flower Moon, and Conundrum: Secrets Among Friends

EB: The Clearing, The Last Thing He Told Me, Barry, From.

GT: I think my track would fit several scenarios, due to the fact that it could be interpreted as a thriller track as well as a horror track in the right context. It has musical elements belonging to both worlds and the title “Tortured Hunt” is a also play on words referencing this.

I think the versatility of my track could make it fit a film or a TV series featuring chases and hunts but also more introspective elements such obsessions for something and/or someone. Plenty to play with!

AY: As always, I try to make my tracks suitable and useful for editors, without focusing on a particular movie campaign, so I’d be happy to see it placed wherever it works.