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Resonant Thoughts: Greg Milner’s “Perfecting Sound Forever” (2010)
“Presence died a million deaths in the seventies. In its place was the Edisonian dream: record the music, not the room. There was a cultural and geographic component to the dry-as-a-bone sound. It was especially prevalent in West Coast studios, and especially audible on the California-centric rock bands of the seventies—put on an Eagles record… Continue reading
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Thinking Compositionally, Texturally, and Vibely
I often begin a project by playing chords. The instrument sound doesn’t matter so much, although I default to the piano because it’s a sound and way of playing I’m familiar with. What’s useful about chords on a keyboard is their limits: they’re a limited expressive world inside a limited spatial world of 12 pitches… Continue reading
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How Might I Develop This?
“I should have spent less time worrying and more time building. If you’re not sure what to do, make something.” – Paul Graham From the get-go of working on a new track the most pressing question a producer needs to answer through action is, How might I develop this? Your answer depends on what you’ve… Continue reading
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Resonant Thoughts: Sarah Davachi On Listening
“I always think of myself as being on this producer’s end of listening: the way that a producer might listen to a recording, or might listen to an instrument, or a microphone or whatever. So usually the way I would want people to think about sound is trying to listen to these details. And listening… Continue reading
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