Thomas Brett
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A Banjo And An Accordion (And A Gorilla) Meet In A Mix
Mixing, very roughly described by someone far from having expertise in the matter, is the process of balancing the levels and shapes of the sounds in your mix so that together they create a cohesive and living whole. On the face of it, it doesn’t seem all that complicated: if a part is too soft,… Continue reading
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Resonant Thoughts: Rory Sutherland’s “Alchemy” (2019)
The opposite of a good idea can also be a good idea. Don’t design for average. It doesn’t pay to be logical if everyone else is being logical. The nature of our attention affects the nature of our experience. A flower is simply a weed with an advertising budget. The problem with logic is that it… Continue reading
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Pre-Emptive Shh: On The Power Of Muting
“It’s what you don’t hear, more than what you hear, that makes something clear. It’s the absence of junk.” – Steve Duda In music production, I’m often busied with everything I can hear, rather than everything I can’t hear. I get carried away—in mostly productive ways—with the details of what’s sounding in the mix: Is… Continue reading
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A Mix
A mix talks with the music, asking it how it wants to be heard. A mix dances with the music, leading it around the stereo dance floor. A mix emphasizes the important sounds right now. A mix exaggerates, boosting tiny into huge, compressing loud into soft. A mix generates ambiance. A mix balances multiple sounds,… Continue reading
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Resonant Thoughts: Jenny Odell’s “How To Do Nothing” (2019)
“[David] Hockney valued painting because of the medium’s relationship to time. According to him, an image contained the amount of time that went into making it, so that when someone looked at one of his paintings, they began to inhabit the physical, bodily time of its being painted.” -Jenny Odell, How To Do Nothing (2019). Continue reading
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