How Daniel Chironno “Quirkifies” His Tracks

Daniel Chironno founded his studio, ‘DTronic Sound’, after graduating from the SUNY Purchase Studio Production B.A. program in 2015. He has produced hundreds of tracks, recorded many artists in multiple genres, and performed with his clients at live events. 

Credits include: 

Indie Pop: ‘Never Let You Go’ placed in a SUNY Purchase Ad that aired during a NYCFC Game at Yankee Stadium (mixer, mastering engineer, producer, songwriter). 

EDM: ‘ANTIDOTE’ by Sinner’s Heist feat. Heather Sommer, Rory Alexander (vocal engineer, co-writer of vocals). Released on Hinky Records, and has over three million Spotify Streams. 

Pop: ‘Better’ and ‘Good Time’ by Sali (producer, mixer) ‘Wash Away’ by Dasha, ‘Song Of The Day’ on ‘A Bit Of Pop Music’, ‘Alchemy II’ featured on Northerly’s Indie Playlist, (mixer, mastering engineer, producer, songwriter). ‘Meant 4 You’ album by Will Urbane (album’s producer, co-writer, mixer, and mastering engineer). ‘Insane’ by Skarlit (producer, mixer, mastering engineer). ‘Till The Day I Die’ by OIM/Maxim Records (co-producer, mixer, mastering engineer).

LBB> When you’re working on a new brief or project, what’s your typical starting point? How do you break it down and how do you like to generate your ideas or response?

Daniel> I create a list of questions (instruments, mood, story), and add a twist. There’s a brilliance in not (exactly) nailing it! 

i.e 808 hi-hats, I’d pitch shift or ring modulate them!

For the Yippee EDM 2 brief, I focused on 'Quirky EDM', and uses of Yippee EDM 1 - reality TV, sports beds with happy visuals. 

Placements that used stripped down versions influenced me to use baseline “riffs”, and “phonk”. Typically tense so I “quirkified” my tracks to be euphoric, and upbeat - see 'PRETTY PHONKY' and 'PHAT PEATS'! 

LBB> Music and sound are in some ways the most collaborative and interactive forms of creativity - what are your thoughts on this? Do you prefer to work solo or with a gang - and what are some of your most memorable professional collaborations?

Daniel> Production is immersive - a personal spaceship to zip around the galaxy (so long as your DAW supports space travel!)

I work solo, challenging myself to share only completed songs - first drafts are final versions (no “demos" - that’s what revisions are for)! 

'Yippee EDM 2' is my musical 'Misogi' - a year defining goal to create the QUIRKIEST dance album EVER! For the final track, I sought an epic collaboration - A-Whirl! 

A-Whirl brought the riffing roof down on Yippee EDM 2! He sent a melody called 'Minyou' which became 'Pure Misogi'…and…in tradition (where Misogis multiply), 'Minyou' birthed a second song “Pure Shinto”!

LBB> What’s the most satisfying part of your job and why?

Daniel> Bringing ideas to life! We can turn obscure ideas into orchestras, and capture spontaneity!

For Yippee EDM 2, I transformed my voice memo, 'GET QUIRK”Y' into a full retro house track (so much that I got asked about sample clearance when I sent the song in - I did good!).

LBB> As the advertising industry changes, how do you think the role of music and sound is changing with it?

Daniel> Formats change but timeless music is adaptable.

I create more alternative versions in anticipation of new technologies -Yippee EDM 2 especially :)

LBB> Can you talk a little bit about the technological developments in sound design right now? i.e Dolby Atmos and 7.1 mixing or any new tech that is relevant to your work. Can you explain the tech to us laymen and describe what opportunities they bring?

Daniel> Maybe surround alternate versions of tracks?! + Meta data - I like the idea of reading a file description that says - “the drum stem in surround”, very 3000s!

LBB> How do you see the future of sound design? And is the metaverse a dream opportunity for immersive sound design?

Daniel> I see a stronger connection between how we visually perceive sounds and how they are created - software(s) that can visually alter sound design (i.e Dada Life’s Sausage Fattener). 

Images inspire creativity (save the pie graphs for the instruction manual)!

LBB> Who are your musical or audio heroes and why?

Daniel> Avicii - I love the simplicity in his arrangements, a dance symphony from few instruments. Using synths accessible to most producers, he transforms them, and uplifts you (into rave bliss)!

'FRI YAY' and 'SKIPPEE SKIP', 'WINNER WINNER', 'GET QUIRKY' are my homage to happy, simple, feel good dance tracks. 

LP’s sounds inspire me by being otherworldly! Whether I’m bit crushing pianos or layering sounds, there’s always “Hybrid Theory” influences swirling around!

 'TOO NAUGHTIES', 'PURE MISOGI' and 'PURE SHINTO' are tenser, using manipulated baselines, and textures with evolving automation (but overall not too crazy or it won’t work behind dialogue)

LBB> And when it comes to your particular field, are there any particular ideas or pioneers that you go back to frequently or who really influence your thinking about the work you do?

Daniel> Generally media composers (i.e Martin O’ Donnell, John Williams, and Bear McCreary) are my biggest compositional influences. I’m inspired by the emotion in their performances. 

I.e. In 'Earth Final Conflict', a 2000s show - the composer lands a “sting” hit at the same time as Companion (character) turns his head in the opening climax - goosebumps! 

I approached 'Yippee EDM 2' similarly, leaving places for the music to rise…and pause - it all had intention - even the quirks!  

LBB> When you’re working on something that isn’t directly sound design or music (lets say going through client briefs or answering emails) - are you the sort of person who needs music and noise in the background or is that completely distracting to you? What are your thoughts on ‘background’ sound and music as you work?

Daniel> I use silence to recharge my ears. Mundane tasks performed quietly such as emails are meditative. 

Musically, silence is magic, I use it as an editable part of my tracks - let it BREATHE! 

LBB> I guess the quality of the listening experience and the context that audiences listen to music/sound in has changed over the years. There’s the switch from analogue to digital and now we seem to be divided between bad-ass surround-sound immersive experiences and on-the-go, low-quality sound (often the audio is competing with a million other distractions) - how does that factor into how you approach your work?

Daniel> CONFESSION! 

I work best on 100 dollar MA-7A Edirol (Roland’s budget) monitors -- my first! 

I believe in “meeting the format” - big sounding tracks played on tiny speakers - the iPhone is the new car radio (and don’t get me started on old laptop speakers!)

LBB> On a typical day, what does your ‘listening diet’ look like?

Daniel> My active listening time is VIP (reserved) for learning reference songs, giving feedback, and producing music.

Passive licensing is my palette cleanser - the foley of running footsteps, clinging of dishes, running of water, and hearing a cool cue in a show. 

LBB> Do you have a collection of music/sounds and what shape does it take (are you a vinyl nerd, do you have hard drives full of random bird sounds, are you a hyper-organised spotify-er…)?

Daniel> I’ve curated a CD collection of late 90s and 2000s music. Re-listening, each time I notice more details - it’s exciting to see ear(s)’ (training) in progress! 

The origins of my repetitious listening are retro video games, I would replay and perfect my scores until I could save up enough for a new game (pre-owned bin FTW!). 

LBB> Outside of the music and sound world, what sort of art or topics really excite you and do you ever relate that back to music (e.g. history buffs who love music that can help you travel through time, gamers who love interactive sound design… I mean it really could be anything!!)

Daniel> Running is a sensation of movement, being “in the zone”, it’s a “matrix” where your abilities are turbo charged!

Great cues are similar to 5Ks (not too short or long), a good build at high speed (the track must accelerate the project’s momentum). 

Eating food is akin to a great album cover - you first imagine what the experience “will be” then the real experience follows when you listen/eat!

My clients challenge me with new meals (called “genres”) - with new experiences, you might not predict the outcome, then suddenly it’s your favourite!

A new fav. is Vietnamese food - plenty of protein, veggies for my organic diet! 

LBB> Let’s talk travel! It’s often cited as one of the most creatively inspiring things you can do - I’d love to know what are the most exciting or inspiring experiences you’ve had when it comes to sound and music on your travels?

Daniel> I never imagined that my music would be placed on shows across Europe and Asia - seriously, the tunes get out more than I do! (Thank you Score/ APM!!, music supervisors/editors - musical airlines!)

LBB> As we age, our ears change physically and our tastes evolve too, and life changes mean we don’t get to engage in our passions in the same intensity as in our youth - how has your relationship with sound and music changed over the years?

Daniel> As I age closer to becoming a Jedi (without the rank of master), I’m challenging myself to do MORE with less. 

Youth is your first attempt at realising ideas, and…it’s too literal. I.e As a teenager, having heard distorted songs at concerts, I’d incorporate it into my tracks - capturing the nostalgia of a great memory... and abrasive sounds!  

A more mature approach to sound design is gentler - hinting at ideas! I.e. An LFO and filter cutoff making small movements. 

I wanted to be subtler on Yippee EDM 2 - easily digested, an EDM avocado! I thought a-lot about editors and stems - if downloading files for the first time would they be easily editable. 

A level of control that comes from experienced trial and…errors (although no right or wrong in music)!