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brettworks

thinking through music


  • October 21, 2022

    Resonant Thoughts: Hudson Mohawke On More Than The Sum Of Their Actual Parts

    “…It’s often these ones [tracks] where there’s really not a great deal going on, but somehow they’re still more than the sum of their actual parts.” – Hudson Mohawke Continue reading

    Resonant Thoughts
  • October 20, 2022

    Brett’s Sound Picks: Craig Armstrong’s “Nocturne 4 (Alva Noto Remodel)” (2022)

    2022 playlist Continue reading

    Uncategorized
  • October 19, 2022

    Art About Music: Paolo Veronese’s “Music, Astronomy and Deceit” (1556-1557)

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    art about music
  • October 18, 2022

    Three Lines

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    Uncategorized
  • October 17, 2022

    From Expectation To Receptivity: Nothing Happens, Until Something Does

    “To give the moment a chance, you don’t give up after three, four or five minutes of playing. You don’t play the peak moment in the first three minutes. You’re trying to record something you want to listen to again, so you move carefully, so you don’t mess it up. Because when you just hit Continue reading

    Uncategorized
  • October 14, 2022

    Resonant Thoughts: Paul Graham’s “Hackers And Painters” (2004)

    “The way to create something beautiful is often to make subtle tweaks to something that already exists, or to combine existing ideas in a slightly new way. Another example we can take from painting is the way that paintings are created by gradual refinement. Unseen details combine to produce something that’s just stunning, like a Continue reading

    Resonant Thoughts
  • October 13, 2022

    Brett’s Sound Picks: Emeralds’ “Photosphere” (2022)

    2022 playlist Continue reading

    Brett’s Sound Picks
  • October 12, 2022

    Art About Music: Oskar Kokoschka’s “The Power Of Music” (c. 1918-1920)

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    art about music
  • October 11, 2022

    Adore

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    Uncategorized
  • October 10, 2022

    On Sonic Scavenging

    One tried and true production workflow is to make field recordings and then incorporate these into a piece of music to give it an injection of a real life, acoustic soundscape. Many musicians believe that field recordings imbue a track with vividness, a bespoke aura, and intentionality impossible to achieve by other means. For both Continue reading

    sonic scavenging
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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

  • Database: Dave Stewart On Stereo Picture, Frequency Differences, And Demos
  • Brett’s Sound Picks: Musicentrydelete’s “Depth” (2025)
  • When Less Leads To More
  • Omni 98 bpm
  • Drumming Diaries: Grip

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