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Database: Shane Parish on Revoicing and the Game Of Subtraction
“My basic mantra when working up an arrangement, applying fingers to strings and frets, is ‘revoice, revoice, revoice.’ I will trial-and-error several versions of a phrase in search of resonance, playability, and emotional conviction.” “This approach is more of a game of subtraction, rather than construction. Instead of building up my arrangement from my own… Continue reading
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Resonant Thoughts: Daniel Poppick’s “The Copywriter” (2026)
“No art, no melody, no time that is not bound up in some dark labor” (24). “Everything has a schedule, if you can find out what it is” (28). “The time we have at our disposal every day is elastic, the passions we feel expand it, those that we inspire contract it, and habit fills… Continue reading
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Aftertouch
Johannes Vermeer, A Young Woman seated at a Virginal (c. 1670-72) In MIDI parlance, aftertouch refers to MIDI data that’s transmitted when a key or pad on an electronic controller is held down after the initial attack to control parameters such as volume, vibrato depth, or filter brightness. One of the first synthesizers to incorporate… Continue reading
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Database: Jennifer Loveless On The Quality Of First Takes
“Speed is really important to me in production, and I love taking the first take of things and making that work. There’s something in the first take that has a quality I can’t quite put my finger on, but it’s almost like you can hear the excitement of playing something for the first time. Maybe… Continue reading
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Resonant Thoughts: C. Thi Nguyen, The Score (2026)
“The pursuit of fish creates an attentional focal point. It structures the way I look at the river—it gives me a goal, tells me what to look for, what to see” (29). “The real point is something larger, stranger, more mystical. You spend time on a river trying to catch fish, and you start noticing… Continue reading
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