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brettworks

thinking through music


  • April 3, 2024

    Brett’s Sound Picks: Lanark Artefax’s “Metallur” (2024)

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    Brett’s Sound Picks, Uncategorized
  • April 2, 2024

    Keywords: Soundset

    Your soundset is a bespoke palette of sounds, toolkit of filigreed production possibilities, collection of go-to enchanting instruments and timbres, and repertoire of effects and signal processing ways, balanced just so. Having a soundset solves the problems of what template to use and how to begin, freeing your attention from which sounds to what shall… Continue reading

    keywords
  • April 1, 2024

    Music Box No. 14

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    Uncategorized
  • March 31, 2024

    Running As Flow Practice

    “The run is white noise, a way to simply experience time as a body, a piston, that exists away from the mind and only in the body as a live reactive presence.” Matthew Futterman, Running to the Edge (2019) At home I move fast and bump into things. Shins knock the couch, flying elbows glance… Continue reading

    Uncategorized
  • March 29, 2024

    Art About Music: Athanasius Kircher’s Hydraulic Organ, from “The Universal Musical Art, of the Great Art of Consonance and Dissonance” (1650)

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    art about music
  • March 28, 2024

    Brett’s Sound Picks: Ævestaden’s “Motorbåt” (2023)

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    Brett’s Sound Picks
  • March 27, 2024

    Database: Jacob Collier On Even Though There’s Just Two Speakers There’s Always space

    “[Mixing] is a constant prioritization about what should be in the background, what should be in the foreground, how do you carve a satisfying set of journeys where everything goes on a little path and paths connect. I think it’s just a matter of listening very carefully to what’s there and not being afraid to… Continue reading

    database
  • March 26, 2024

    The Bellows

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    Uncategorized
  • March 25, 2024

    Keywords: Not Knowing What You’re Listening For Until You Hear It

    (Painting: Fernand Khnopff, “Listening to Schumann” [1883]) Composers who write for acoustic musicians have a good idea of the soundworld they’re scoring for: an orchestra, a wind quartet, a choir, a percussion ensemble. But this isn’t the case with music producers as they create both a palette of sounds and the virtual acoustic/synthetic spaces these… Continue reading

    keywords
  • March 22, 2024

    HT Dub 3

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    atelier
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Thomas Brett is a musician and writer who holds a PhD in ethnomusicology from New York University. He is the author of Principles of Electronic Music Production and The Creative Electronic Music Producer, a book described by Sound On Sound magazine as “a deep philosophical analysis of the various creative inspirations, ideas and processes involved in producing electronic music.” His essays have appeared in the journals Popular Music and Popular Music and Society, as well as edited collections by Routledge, Oxford, and Cambridge University presses. Thomas has played percussion on Broadway since 1997 and writes about music at brettworks.com.

Recent Posts

  • 14 October
  • Database: Christian Löffler on Working Quickly and Using Field Recordings
  • Curating the Week: The Additional Touch, Philip Glass’s Music, How to Write a Paper
  • Performance Practice: Lessons from Music for 18 Musicians
  • Resonant Thoughts: James Marriott’s “The New Dark Ages: The Death of Reading and the Dawn of the Post-Literate Society” (2026)

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