Camera Obscura: Philip Calisto's Tool to Enhance Creativity

Born in Italy and raised in Berlin, Philip Calisto is a composer, pianist, and music producer with a diverse international background. After graduating from the renowned Georg Friedrich Händel Gymnasium, he spent six months working with the NGO Musicians Without Borders on the Galápagos Islands before completing his Bachelor’s degree at ArtEZ University of the Arts in the Netherlands.

Having lived in different cultures, he speaks four languages fluently—German, Italian, English, and Spanish—and has built an extensive global network in the music and media industry. 

With over a decade of experience in music, media, and creative industries, he has collaborated with leading brands and organisations such as Sony Music, Amnesty International, and Orchestral Tools. His compositions have been featured at international film festivals and broadcast on television. Furthermore, he has performed on prestigious stages, including the Berlin Philharmonie with the Berlin Philharmonic. Philip is now the music and sound producer at Bonaparte Sonic in Berlin.

LBB> What is your niche craft obsession?

Philip> One of my biggest creative obsessions in recent years has been Splice. It’s a subscription based platform where producers from all over the world upload their music and sound recordings—loops, samples, one-shots, etc.—creating an immense library of sounds available for legal and commercial use. It’s like a massive music archive and an endless source of inspiration. 

LBB> Where / when / how did you first come across this thing?

Philip> I honestly can’t recall the exact moment I discovered Splice, but it must have been around two years ago during a creative session with my band.

We set aside a weekend to write new music and wanted to experiment with a different approach—producing everything digitally instead of recording our instruments. We also knew we didn’t have unlimited time, so we wanted to work efficiently while still sounding modern and fresh.

After some research, we stumbled upon Splice, and it was a perfect fit. It allowed us to quickly build beats, get inspired, and test ideas without spending hours searching for the perfect kick drum or snare sound.

LBB> Was it an obsession straight away or something that has evolved over the years?

Philip> For me, it became an obsession almost instantly. I found it incredibly fun to browse through the countless loops and samples—so many of them were already well-produced and creatively inspiring. It immediately became a key tool in my workflow.

LBB> What are the most interesting debates or conversations you are having around this obsession? 

Philip> There’s an ongoing debate, especially in more academic and avant-garde music circles, about whether using pre-made samples and loops stifles creativity. Some argue that relying on Splice or similar platforms means you’re not actually creating music but rather assembling pre existing work from others. They see it as “cheating” or lacking originality.

I understand this perspective, especially as someone with a background in classical composition. But in reality, I don’t just drag a loop into my project and call it a day. I manipulate, stretch, pitch, cut, and mix it with other elements—sometimes from entirely different genres—to create something entirely new. It’s a tool, not a shortcut. 

Moreover, working in the media industry often means delivering results quickly without compromising quality. Splice enables me to meet tight deadlines while maintaining high creative standards. It doesn’t replace creativity—it enhances it.

LBB> How widespread do you think this obsession is with your peers?

Philip> It depends on the musical circle. Among producers working in commercial music, film, and advertising—where fast turnaround times are essential—Splice is widely used and accepted.

However, in academic or experimental music circles, it’s often dismissed or viewed with scepticism. Many traditionalists prefer to craft every sound from scratch, which I respect, but I also see the immense value in having a tool that streamlines production and sparks creativity.

LBB> Can you share any examples of work where that obsession really came to the fore and elevated the final production? 

Philip> Absolutely. That same band project from two years ago, which started as an experiment with digital production, is now in its final stages. For the first time, we’re releasing music that is entirely digitally produced—no recorded instruments, just carefully curated and manipulated sounds. It has taken our sound to a new level. 

I’ve also incorporated Splice elements into various commissioned projects where quick turnaround was necessary, allowing me to deliver polished, high-quality results under tight deadlines.

LBB> For anyone just getting into your field, what advice would you share to help them get their head around this particular thing? 

Philip> First and foremost: don’t feel guilty about using Splice or similar platforms. Everything is legally cleared, and the producers uploading their work get paid. You’re not stealing; you’re collaborating—just anonymously.

Secondly, have fun and experiment. Don’t just use loops as they are—chop them up, alter them, mix them with your own elements. The key is to make them unrecognisable as stock sounds and integrate them into your unique artistic vision.

Lastly, don’t let it replace your creativity. While Splice is a powerful tool, it shouldn’t become a crutch. It’s there to inspire and speed up your workflow, not to replace your own artistic instincts. Trust your ears, take risks, and make it your own.