We caught up with guitar virtuoso Angel Vivaldi to talk Superior Drummer 3, creative process, his latest music, how painting the studio in different colors triggered new inspiration – and more!

To start with, how did you discover music, and how did you end up playing the guitar?
Growing up in a Hispanic household, it was impossible to escape music. Anything involving music, art or dance was extremely appealing to me, and I dove into all three early on. Like most grade schools in the U.S., we were given xylophones in third grade and recorders in fourth grade – both of which came very naturally to me. Fast forward to me playing “You’re a Grand Old Flag” on the recorder through one of my nostrils at a school recital. Lol. Learning the guitar was a very gradual process. I grew up with the music from my parents’ adolescence, including disco, funk, house and various dance genres, as well as salsa, merengue, and bachata. By the time I hit seventh grade, I got into Jewel, Hanson and Savage Garden, which progressed into Bush, Nine Inch Nails and Nirvana – then onto Metallica, Megadeth and Testament. That led to Soilwork, In Flames, Yngwie Malmsteen, Steve Vai and so on. Ultimately, the intro to “Smells Like Teen Spirit” sealed the deal. Once I heard that, I knew I wanted to write music and use the guitar as a means of making that happen.

Do you still practice your instrument regularly? If so, what does your routine look like?
I sure do, but not in the same way. I’m a composer first, and because I genre-hop quite a bit, it allows me to constantly play and write material that’s outside of my ability. Being a touring artist forces you to commit to learning parts enough to execute them in live settings night after night. Eventually, after doing that enough, the phrases and “lyrics” become a part of how you speak through an instrument. I try to level up and outdo myself with every album cycle in some way or another, helping me constantly get better. Live streaming is also another means of practicing, which I really love doing.

You’re a Superior Drummer 3 user. When and how did you first discover Toontrack?
It must’ve been in the mid-2000s when I started as a solo instrumentalist on the Sevenstring.org forums along with Misha, Ola and Keith Merrow. I always wondered how the drums sounded so great – and what the hell MIDI was. Lol. The internet wasn’t the infinite library it is today, so tutorials were very scarce. You had to read through endless threads and, honestly, writing music was more important to me than the mixing aspect. During the writing sessions for “Away With Words, Part 1” in 2012/2013, I finally started to understand how to use virtual instruments as a songwriting tool. Once that clicked, my entire workflow changed for the better. I could hear a near-final result of what I was writing and had the freedom to change things on a whim instead of asking my poor bandmates to loop sections over and over in a rehearsal space while I figured out my parts. They were troopers, and it benefited everyone because the more they did that, the cooler and more intricate their ideas became.

How does Superior Drummer 3 help in your creative process?
It’s integral for me – I genuinely can’t imagine not using it. Once drum MIDI packs became more common, they only heightened and expanded my creativity, especially in realms outside of metal, like on “Away With Words, Part 2.” While I’ve had my drummer, Bill Fore, on all my records since 2011, Superior Drummer helps me explain ideas in a much clearer way. Back in the day, we’d rehearse and work out parts in a room, whereas now it’s much more streamlined. We send MIDI files back and forth. He’ll track preproduction on his e-kit, and we’ll build on ideas that stemmed from drum riffs I wrote in Superiro Drummer or from MIDI pack riffs.

Your latest single, “New Country,” sees you collaborating with Steve Morse and, musically, it’s pretty far from what you’ve released before. What inspired this new direction?
“New Country” was a natural progression after “Away With Words, Part 2.” It encapsulates everything I love about disco, funk, progressive rock from the ‘60s/’70s, with a touch of bluegrass. Having befriended Steve shortly before, it seemed like the perfect time to execute this song, which I’d wanted to record for over a decade. I have no reservations about playing music that is authentic to me, regardless of what an audience might expect. Truth be told, the music that appears on “Away With Words, Part 2” and “New Country” is truly where my roots lie; not in metal. Being authentic to the music in my heart is far more important to the legacy I leave behind than chasing what might be more commercially viable. There’s also something special about growing older with your audience. Having been a solo artist for over 20 years now, many of my fans now have careers, families and kids. Many of them still love metal, but others might not be as angsty as they were when they first discovered me and connect much more to my newer material. Either way, I’m truly grateful for anyone who connects with any era of my material. 

Writing primarily instrumental music, how do you find inspiration for titles and themes?
I’ve always been drawn to storytelling and concept records – almost all my releases are concept records. Song titles hold tremendous weight in shaping a listener’s expectations, especially for an instrumentalist. Early on, I took album concepts, titles and visuals very seriously. Inspiration comes from everywhere. For example, “Universal Language” was inspired by reading about NASA’s Spirit rover dying on Mars in 2011 because it couldn’t survive “the Martian winter.” I thought to myself “what would a winter on Mars sound like?” (cue in the intro to “A Martian Winter.”) That sparked the song “A Martian Winter” and additional tracks about seasons on other planets. Sorry if anyone thought “Universal Language” was a tribute to “The Four Seasons” by Antonio Vivaldi… just so happened to be an unintentional double entendre, lol. For “Synapse,” I wrote songs after different neurotransmitters like adrenaline, serotonin and dopamine. I assigned colors to each and painted my studio those colors to immerse myself in the energy of what that neurotransmitter does to our emotions. I also decorated the studio and incorporated scents and visuals – a process I called “method writing,” inspired by my love of psychology and neurology.

If you weren’t a musician, what do you think you’d do for a career?
Being a musician has allowed me to explore many other passions. 
1. Cinematography. Music allowed me to produce my own videos, which led to producing and directing for others through my company The Xenith Counsel.
2. Interior design. I’ve designed sets for videos and enjoy creating inspiring environments in my home to work in.
3. Psychiatry. My passion for psychology was central to “Synapse” and influences my upcoming book quite a bit.
4. Choreography. Dancing was a huge part of growing up, and I’ve incorporated it into music videos such as “Serotonin,” “Eight” and “Nine.”

Walk us through a regular day in the life of Angel Vivaldi!
I wake up around 10:30 AM., eat breakfast, hit the gym, spend time in the sauna, shower, and then get to work. My work could include writing, teaching, consulting, video editing, building websites, or working on my book. I’ll do this while cooking/eating in between breaks until around 3:00 AM or so.

Out of everything that comes with being a professional musician, what’s your favorite part and why?
Writing music and creating music videos are the absolute best. Nothing makes me feel more alive and connected to the world than doing those two things.

What’s next on your agenda?
Right now, I’m focused on finishing my book while simultaneously writing two solo records (three if you count my band’s upcoming LP). I finished a European headliner this past spring and may head out for a US tour in 2025 with The Guitar Collective, my “G3” so to speak. 2025 will likely see at least one release from me as well!

Angel Vivaldi feat. Steve Morse – “New Country”

Angel Vivaldi “A Martian Winter”