At Point Blank, you can expect to be taught by some of the best in the business. Each of our instructors is selected for their combination of talent, music industry experience, and tangible success – which they pass on to you in the classroom. Each is a true professional in their field and our Online team is no exception. For this Instructor Spotlight, we will be interviewing renowned multi-Instrumentalist /vocalist, composer, Ableton certified trainer, and key Point Blank Music Production: Ableton instructor, Antonio Sage.
If you’d like to study Music Production: Ableton with Antonio, or any other music production courses at Point Blank, sign up here. And be sure to sign up for our online Ableton 12 masterclass on April 25, where Antonio will guide you thorough the ins and outs of Ableton 12! Additionally, if you’re looking to get the Point Blank experience in-person, you can always study a degree course with us in Los Angeles or London.
Antonio Sage is a Multi-Instrumentalist /Vocalist and Composer. He has written, performed and produced a vast catalog for clients such as Warner Chappell Production Music, Revolution, Groove Addicts, and Emergency Production Music. His compositions are featured in television programs and networks such as Judge Judy, Dr. Oz Show, The Morning Show, House Hunters International, Primer Impacto, Networks include; HBO, Fox, TNT, Univision, and MTV2.
Can you share a bit about your musical journey and background?
I started much like a lot of us did in my generation. With a 4-Track recorder, a mic, and an old guitar. When computers became capable of making music it was a revelation. I studied every available piece of literature and worked at music retailers and studios to learn the craft.
Even though I worked in most DAW’s well, Live was always running in sync. Eventually, I started making entire tracks in Live. That became the foundation for my career. My journey consists of being able to instinctively use these tools while most musicians were still resistant to change.
How did you find yourself working with renowned clients like Warner Chappell Production Music, Revolution, Groove Addicts, and Emergency Production Music?
During the early 2000’s there was a great demand for music for television. Even before streaming, the networks were multiplying. I was living in LA and a friend who was familiar with the industry and with my approach to making music. He suggested that I might be a good fit for this job. After submitting tirelessly, eventually I found someone who believed in me at Warner Chappell Production Music. That led to a fruitful working relationship.
Your production credits include a diverse range of projects, from television programs to networks and award shows, like HBO, Fox, TNT, Univision, and MTV2. Can you share a project that was particularly challenging or rewarding in terms of production, and how did it shape your approach to future work?
It takes some time but after releasing a number of tracks then eventually the placements start coming in. At one point, I was given full albums to produce within a certain genre. I once challenged myself to create thirty tracks in thirty days. I am proud to say that the majority of that material made it into the libraries.
This gave me the confidence to know that I can create so much content if I want to.
Your compositions have been featured in commercials, including the Billboard Latin Awards. How does creating music for commercials differ from other projects, and what unique challenges and opportunities come with producing music for this medium?
When you create music for libraries. Your task is to convincingly recreate a popular genre. For me a lot of the time, that was electronic music. Lot’s of Dubstep, Epic Hip Hop, and Reggaeton. The biggest challenge is not having a visual but knowing that this music will end up being used in a visual medium. So, your sound must complement a scene as much as enhance it. Sometimes we use special effects to achieve that. But most of the time the track has to imply a certain scene with its musicality.
What made you want to become an instructor at Point Blank?
Point Blank has a well deserved reputation for being a serious yet open minded, progressive music production learning environment. I was just fortunate enough to have noticed the job posting. I have thoroughly enjoyed the curriculum, the students and the opportunity.
Sync or Library music is a significant part of your catalog. How do you approach creating music for libraries, where versatility and broad applicability are crucial?
It is crucial that you remain open hearted for the experience of exploring styles of music that you might not have been interested in the past. Keep your mind prepared for rejection and the sometimes bitter pill to swallow that your music might not be ready yet. Be open to listen to critique and make adjustments. It is important to iterate on your work. Just continue on the bold path until you get what you want. You have to believe in yourself and being able to take criticism well is very important. It is easy to feel insulted by the comments on your music. But, they are the client’s perspective. Even if you do not agree. It is your job to figure out how to implement those changes.
When creating music for library catalogs, are there specific musical influences or genres that you draw inspiration from? How do you balance staying true to your artistic style while meeting the diverse needs of potential users?
I draw my inspiration from multiple sources. Listening to music of course provides the best inspiration. Sometimes watching a good show can make me go straight to the studio. I love that motivation you can get from cinema. Sometimes, something someone says can trigger a musical idea.
But some of the artists and music which I draw inspiration from are Peter Gabriel, Max Richter, Cigarettes After Sex, Marvin Gaye, Sam Cooke 1070 music television themes, cinematic composers and ambient music.Of course, I grew up listening to Hip Hop and House Music but I also liked a lot of Rock stuff.
For aspiring composers looking to enter the world of commercial and library music, what advice do you have for navigating the industry, building a portfolio, and establishing connections with potential clients or platforms?
Make sure that your music is undeniable.The music needs to paint pictures with mood and aural imagery! Be fearless, release, share and play music. Find a way to make yourself stand out from the rest. Whether that be from becoming an influencer to great artwork with your music. Just find a way to get people’s attention.
This is not hard these days. You have so many resources including AI art and video that can be used to make a statement.
The tricky part is maintaining their attention. And that boils down to consistency. People love to follow interesting things. Give them something interesting to follow. Oh, and when you get that opportunity, be the best you can be every time. Do not make excuses, make the absolute best product at all times. And be consistent every time. That way, your clients and bosses know that they can count on you. That goes a long way in this industry. No scratch that. In life!
As a Sound Designer and Inventor, you’ve created sound banks for notable plugins. Could you share your experience working with companies like Rob Papen and your role as the creative force behind Audioutlaw?
Design is a big part of who I am. Whether it is visual or sound. Under the name Audioutlaw, I created solutions which I thought would be good to have in my own workflow. I envisioned their design based on my own personal aesthetic. I put my heart and soul into our software devices.
Your software devices have been distributed through Isotonik Studios and the official Reverb software store. What inspired you to venture into software development, and what challenges did you face along the way?
With Audioutlaw, maintenance was always the challenge. Take your pick! One day it was the website, the software, the installer, manuals, promo material and online presence. It was worth having these MaxforLive devices in my list of accomplishments but I have moved on since then. They are available as free downloads on antoniosage.com.
You’ve collaborated with various artists and worked with companies like Ableton, Spitfire Audio, and others. How do you balance your collaborative work with teaching, and what insights do you share with your students?
Well, I have worked as a product specialist for these companies in one capacity or another. It’s work! That’s my advice, get that work! There is always something to do. Something to learn. New stuff is coming at a lightning pace.
You’ve performed and spoken at venues and trade shows like NAMM, AES, and IMSTA. Could you share some highlights or memorable experiences from these events?
Well everyone has a Stevie Wonder sighting at the NAMM show. I have had mine. But, no. I can’t think of a story in particular. But I could say that I enjoyed my role as brand ambassador for the companies I was working for during the time I was working for them.
With your experience as Ableton Certified Trainer, how do you feel about the new features introduced in Ableton Live 12?
Live 12 is a very ambitious update. Like being able to use Similarity Search to swap through samples on the fly is a magnificent timesaver. Clip view’s midi transformers are a nice compact new extension to live. I noticed the categories there, said Ableton. So, I assume this will be open to third party developers maybe? But, it already comes with a lot. I know one thing, this makes Live capable of generating music for you. Before that, it could only do subtractive generative algorithms like velocity limiting. Basically, you had to put in the notes. Now Live makes notes, chords, strums, arpeggios. It is also scale aware. That’s an interesting development.
Are there specific tools or enhancements that you find particularly exciting or useful in the Ableton 12 version?
Roar has immediately become my most used device besides Compressor and Eq8. In fact I use it for the same tasks which I would use those two. It’s name implies that it will make your audio bite your head off. It can do that. But used sparingly and intelligently It is such a beautiful sound shaping tool.
In fact, I think it should be called Shaper.
Beyond that, Live 12’s new cataloging system is exciting for the future. It is going to take some time to fully utilize this new system. It also makes sense that this is all leading to more AI powered assistants going forward. But that is just speculation on my part.
What can students who take your course in Music Production Ableton expect to learn?
Music Production: Ableton, ideally is a chill environment where a total beginner can sit besides a more experienced user and they will both learn something. A place where everyone feels comfortable enough to ask questions and learn from one another.
Above all, my goal is always to provide as much of a live experience as possible. I want my students to feel as though they are taking part in a session. Meanwhile, learning new concepts and workflows along the way.
You know that moment when something clicks and you have absorbed a new concept. That understanding fills you and makes you feel empowered by its potential. I strive to continually experience those moments with my students.
Links: Website / Audioutlaw / Instagram / Facebook
Want to learn more about Ableton 12? Explore the latest updates in Ableton Live 12 with Antonio Sage, an Ableton Certified Trainer.
Antonio will guide you through the distinctive features that set Ableton Live 12 apart from Ableton Live 11, offering insights into the exciting new functionalities. During the session, participants will have an opportunity to interact directly with Antonio. Engage in the Q&A segment, where you can pose questions to the Ableton expert!
Whether you’re interested in specific features, production techniques, or seeking guidance on your musical journey, Antonio Sage is here to share his expertise and help you unleash the full potential of Ableton Live 12.
Don’t miss this exclusive online event – secure your spot here!
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