What Gear Does Zach Abels Use While Composing Music?

Funny thing—I've been rabbit-holing Zach Abels' music for a while now, and what I keep noticing is that his solo footprint is a bit scattered compared to full-band releases. He’s best known as the guitarist who played on The Growlers records, so if you’re trying to trace his work start by checking credits on The Growlers’ albums like 'Chinese Fountain' and 'City Club' where his parts are featured. For his solo material, I usually head straight to Bandcamp first because lots of indie musicians drop EPs, instrumentals, or limited-run tracks there. After that I check Spotify and Apple Music for whatever’s been distributed more widely, and YouTube for live clips or uploads of songs that might not be on major platforms. If you want physical copies or a complete checklist, Discogs and MusicBrainz are great for credits and release dates. If you want, I can walk you through searching those sites step-by-step—I do that every time a musician I like seems hard to pin down.

I'm a huge fan of digging into creators' thoughts, and when I want interviews with someone like Zach Abels about composing I start with the obvious hubs and then get a little detective-y. First stop: his official pages — an official website, Bandcamp, or SoundCloud profile often links to press, blog posts, or a press kit that can include Q&As. After that I scour video platforms for panels and studio visits; many short interviews live on YouTube or Vimeo and sometimes on podcast channels. If nothing obvious turns up, I do targeted searches with quotes and site filters: "Zach Abels" + interview, or site:youtube.com "Zach Abels". I also check music and film-scoring publications, podcasts about composing, and smaller indie music blogs — those places love deep-dives with working composers. Finally, set a Google Alert or follow him on social media; artists sometimes post archived interviews or announce live chats. Once I found a great 20-minute chat hidden in a festival Q&A by doing this, so patience and a few different search angles pay off.

I’m the person who gets a little too excited when guitarists I like pop up in playlists, so here’s the practical scoop: if you want Zach Abels’ most streamed songs, the fastest route is to check the artist pages and credits where he appears. A big chunk of his exposure comes from his work with The Revivalists, so tracks like 'Wish I Knew You' and 'All My Friends' are huge draws and will show up as top-streamed tracks on Spotify or Apple Music because they’re band singles he plays on. Beyond that, look for solo material or collaborations under his name on Spotify and YouTube Music — the 'Popular' section on an artist’s profile lists their top tracks by plays. If credits matter to you, AllMusic and Discogs will show his role on songs and albums. I like cross-referencing YouTube view counts too; sometimes live session videos with him playing get surprisingly high plays and point to what fans enjoy most.

When I think about how Zach Abels works with film directors, I picture a process that's equal parts conversation and experimentation. First he seems to sit down with the director to map the emotional landscape: which scenes need texture, which need drive, and where silence might be louder than a full score. From there he often brings raw sketches—textured guitar lines, ambient loops, or a simple piano motif—that act more like sketches than finished product. Those sketches are a playground for the director to react to, which leads to iterations where tempo, tone, and instrumentation shift until the music and image breathe as one. What I love is that it's collaborative without losing his voice. He listens hard to the director's imagery and story beats, but he also offers creative risks—a weird pedal board choice, a stretched harmonic that makes a scene feel uncanny. After spotting sessions and rough mixes comes fine-tuning: syncing cues to picture, adjusting stems during the edit, and often one last feedback loop during post. It feels like two artists sculpting the same moment, and that give-and-take is what makes the music feel essential rather than ornamental.

There’s something really electric about the way Zach Abels builds atmosphere, and I think his signature soundtrack sound grew out of a mix of cinematic obsession and hands-on experimentation. Early on he clearly soaked up a lot of film score language — those warm, analog synth pads like in 'Blade Runner', the slow-burn crescendos of post-rock bands such as 'Explosions in the Sky', and the retro-futurist neon of 'Drive' — then filtered those influences through guitar playing that isn’t trying to be flashy, it’s trying to color a scene. He layers guitars with delays and pitch-shifted textures, lets reverb breathe, and treats the amp and pedals as tonal instruments rather than volume tools. On a practical level, I’ve noticed he evolves ideas on the road and in the studio simultaneously. Live arrangements teach him what holds up, while studio time lets him dissect and re-sculpt sounds with synth programming, granular processing, and careful mixing. Collaborations with filmmakers and other musicians nudged him toward dramatic pacing and cue-based thinking, so his tracks feel like they belong in a movie even when they stand alone. For me, the result is emotionally direct music that still rewards a deep listen.

I got hooked on Zach Abels' sound the way you get hooked on a late-night playlist you swear was curated just for you — parts dreamy, parts punchy, all soaked in atmosphere. Growing up around bands and cheap practice rooms, I heard the same mix of old-school guitar obsession and bedroom-electronic curiosity that he leans into: crunchy pedals, reverb-drenched leads, and an ear for bittersweet melody. His style feels like someone who loves classic songcraft but refuses to be tidy about it, so he pulls in textures from film scores, vintage synths, and hip-hop production to color a simple guitar line into something cinematic. A specific thing that pops out to me is how his LA surroundings and the DIY internet era shape the music. You can tell he’s comfortable with loopers and samplers, and he treats production as part of composing, not just polishing. That leads to songs that breathe — a vocal echo here, a lo-fi drum hit there — which makes the whole thing feel lived-in. I also notice he’s not afraid to lean into mood: a little melancholy, a little swagger. If you’re chasing tracks that sound like late-night drives through neon-lit streets, start with his more stripped-back stuff and then follow the layers backward; you’ll hear the guitar work evolve into broader, cinematic palettes. It’s the kind of progression that rewards repeated listens and a curiosity about gear and production tricks.

I get this giddy, slightly nerdy thrill whenever I break down how he handles dramatic moments — there’s a real craft to it that feels honest, not flashy. When I watch a scene scored by Zach Abels, the first thing I notice is how he treats space. He’s not trying to fill every second with sound; instead he leaves breathing room so the actors’ pauses and line deliveries matter. That restraint makes the music feel like an emotional undercurrent rather than a commentary. He layers intimate textures — a distant guitar, a warm synth pad, or a lonely piano — and lets those elements swell only when the picture demands it. Another thing I love is his emotional editing: themes are simple and mutable, so they can be stretched or fractured to mirror a character’s shifting state. Dynamics are everything — a half-step harmonic shift here, a filtered reverb there — small moves that land huge feelings without shouting. It’s the kind of scoring that makes you feel like you’re inside the character’s chest rather than watching a soundtrack tell you what to feel.

I’ve licensed music a few times for small films and commercials, so here’s a practical, step-by-step way I’d approach licensing a track from Zach Abels based on what usually works. First, figure out what rights you need. For film you almost always need a sync license (the publishing/composition side) and a master use license (the actual sound recording). If you plan to re-record the song yourself, you might only need the sync license. Check metadata on streaming services, Bandcamp, or liner notes to see who the label or publisher is; if Zach releases independently you may be able to deal with him or his manager directly. Second, find contact info. I poke around the artist’s official site, Bandcamp, SoundCloud, Instagram, and LinkedIn for management or booking contacts. If the track is registered with a performing rights organization (ASCAP, BMI, SESAC), their database can list publishers. If you can’t find anything, a polite DM often works—explain your project, where the music will appear, and a quick budget range. Third, negotiate basic terms: territory (where the film will be shown), media (festival, theatrical, streaming, TV), term (how long), exclusivity, fee, and credits. Ask for a written license that specifies sync and master rights, and make sure it contains warranties that the licensor owns or controls the rights and will indemnify you against third-party claims. Don’t forget to budget for cue sheet submission and to secure any sample clearances if the track uses samples. Finally, get it in writing, pay via contract terms (deposit + balance), and keep all chain-of-title documents. If time is tight, consider commissioning a bespoke piece or obtaining a cover version to sidestep a master license. I always keep a checklist and a named contact so I can follow up quickly—it saves headaches when festival season rolls around.