In the last post here, I mentioned an interview by a producer/engineer named Scott Solter, and while I was looking it over again, checking it to make sure I had the ideas right, something else caught my eye and subsequently became lodged in my mind. I’ve been thinking about it ever since, probably because it relates directly to both the creative project I’m immersed in right now, and also to a theme I’ve touched on in these pages before: namely, the idea of commitment.
It turns out that this notion is also rather important for Mr. Solter, and in the interview (it’s really more of an introduction to his work and the ideas that inform it, in sixteen short and somewhat oblique chapters) he describes what it means for him. I no longer have the article at hand, being on the road just now – I’m writing this on a train from Berlin to Amsterdam – but here’s what I can recall, and a few things it’s led me to think about…
The interviewer is inquiring about his (Scott’s) recording methodology, on a practical level, whether he prefers to use tape or computers, that sort of thing. With most people working in the audio field, that kind of question will usually lead to discussions of the merits of analog frequency response versus those of rapid, non-linear editing, or the positive effects of tube or tape saturation versus the amazing creative potential of digital signal processing, or the warmth and dimension of analog summing versus the flexibility and accuracy of mixing in-the-box.
If you choose not to decide…
Not so with Mr. Solter (although I imagine he has opinions on all the above, or at least is not unfamiliar with the arguments). For him, the central issue is one of commitment. The problem with working in the all-digital, non-destructive, we-can-always-change-this-plugin-later mode so common in audio production at this point (hint: it’s very much the mode I tend to work in) is that it’s all too easy to defer decisions, to end up not making real creative choices in the moment when we’re creating, which is probably when we should be making them.
To put this in more concrete terms, he illustrates the point with the example of recording a bass part for a track: “If you don’t know what the bass is supposed to sound like, why are you tracking the bass right now? Why aren’t you outside mowing the lawn?”
Being in an audio-industry magazine, the interview was intended for an audience that is more familiar with the technical background, so I’ll embellish a little with my own interpretation and response to this simple but, to me, deceptively powerful idea… More
(or, the importance of having the wrong tools for the job…)
“To speed up the terraforming process in the Eridanus sector, giant pine trees were grown. Riding massive ion beams, each tree would carry billions of micro-organisms to a target planet, and there serve as an initial beachhead to kick-start the conversion process.” *
I used to build a lot of lego spaceships. First as an eager student with my older brothers, and later on, with my kid sister, as a wise and experienced teacher (though of course she’s taught me a lot along the way as well)… it was the late 70′s and early 80′s, the first trio of Star Wars movies were all the rage, and spaceships were pretty much the only thing we wanted to build.
However, we didn’t have a lot of special spaceship-lego, it was mostly simple old blocky stuff, and certainly if there were any official spaceship kits in the collection, they were dispersed and the instructions were lost and to be honest, we never had that much interest in building them in the first place. The real fun was in making new, innovative, original spacecraft out of whatever pieces we had at hand.
Intrepid readers may already have guessed where I’m going with this… especially since I’ve already written about observing the innate creativity of my young son, about the pour-the-blocks-out-and-get-into-it spirit of creative adventure that permeates everything he does. If you’ve read any of my previous posts (and of course, if you’re new here, I eagerly invite you to do so!) you’ll know that most of what I know about creativity does not come from reading lots of books on the subject, but from observing myself and other creative people and thinking about what seems to work and why it might be that way…
(Mind you, I also have a shelf full of books on creativity, but by and large they mostly give me other perspectives and ways of thinking about things I’ve already observed; hopefully, the things I write about here can do that for you, too!) More
Creativity is a peculiar word. It’s a noun, and its basic meaning is something like ‘the capacity or tendency to be creative’ – that is, it’s directly related to the adjective ‘creative’, as applied to people or actions. So we’re given to understand that what we’re talking about is a quality – and therefore, that people who are creative are inherently and/or always creative, and that they do creative things. But the reality is that many people who are quite capable of doing creative things (i.e. everyone) actually spend a lot of time not doing them. Witness, for example, myself.
I have called myself a composer for quite a few years now. Not because that word is a perfect fit for what I do (when I do it) but because I’m not aware of a better one. I have made a bunch of original music, which didn’t exist before I made it and afterwards did, and I guess that process is called composition. I don’t have any kind of ‘legitimate’ training in composition per se, but I do have a fair amount of knowledge about how to put notes and rhythms and textures and ideas together (some of it even acquired in a formal educational context!). Does this make me a composer? I’m not exactly sure. Does it make me creative? That I can answer: no, it doesn’t. Why not? Because I haven’t done much of it at all for a long time now.
Creativity, in my mind, should refer more to the verb than to the adjective. That is to say, I’m more interested in creating than I am in ‘being creative’. But I cannot say I’ve done a lot of the former over the last while – at least not in the realm of music, which is after all my home turf. So I’ve determined that it’s time I started walking the talk again… More
Greetings! Once again I find myself writing here after a much longer absence than I had planned, which is unfortunate – but also, in this case, instructive… Cutting straight to the chase, I have been struggling a little with motivation, focus and productivity lately. Well, actually I’ve been struggling either quite a bit, or not enough, depending on how you look at it. In any case it’s something I’ve been giving a good deal of thought, and I think some of it merits sharing here. So, on with the show!
A fine kettle of fish
To clarify, I should explain that I have a number of interconnected projects, initiated over the past couple of years, all of which I’m quite invested in but all of which are also somewhat ‘stalled’ in one sense or another. While none of them are exactly poised on the brink of completion, let alone massive success or return on the considerable time and energy investment I’ve put into them, I do feel they all have significant potential in one sense or another – whether on an artistic or business level – and so I’m quite attached to them.
So besides the obvious – too many things on the go – part of what is going on is probably the paralysis that kicks in when I get close enough to something to realize that the stakes are high and failure, possibly public and highly disappointing, is an increasingly real possibility. I seem to suffer from a kind of allergy against going the distance, finishing what I’ve started. A sort of disconnect creeps in and my attention drifts.
How is it that we (assuming this affliction is not unique to me, which strikes me as unlikely) can become so disconnected from meaningful work that we’ve spent valuable time and energy starting, thinking through, imagining and problematizing and re-imagining? More
Hi there… regular readers will recall that last year I wrote a review of the Lateral Action course; it’s a ‘Roadmap for the Creative Entrepreneur’ which I bought last year and got a lot out of, so I wanted to recommend it. Well, the doors are opening again and this time Mark McGuinness, who runs the wonderful Lateral Action blog, has prepared some superb free content to go along with the relaunch, in the form of an ebook called ‘Freedom, Money, Time – and the Key to Creative Success‘. I think it’s worth a read, and wanted to pass it along to you.
Here’s a bit of initial information to whet your appetite, or you can just go ahead and click here to download the book straightaway – no opt-in or anything. The ebook does contain an affiliate link, which means that if, after looking through the free materials, you decide the full Roadmap is for you I would make a commission on the price you pay.
However, the book itself is free, and there is a TON of other great information on the Lateral action site that won’t cost you a dime, including a guest post by yours truly and an extensive email course by Mark called ‘The Creative Pathfinder’ – so there’s really no pressure to buy anything here – but I do still think the full Roadmap is superb.
Free Ebook: Freedom, Money, Time – and the Key to Creative Success
Creative people need three things to be happy:
- Freedom – to do what you want, when you want and how you want it. Not just in holidays and spare time – but also doing meaningful work, in your own way.
- Money – to maintain your independence and fund your creative projects. Of course you want a nice place to live, but you’re not so worried about a bigger car than the guy next door. You’d rather spend money on experiences than status symbols.
- Time – to spend as you please, exploring the world and allowing your mind to wander in search of new ideas.
Usually, you’re lucky if you get two out of the three. But if one of them is missing, it compromises the other two.
Without money, you don’t have much freedom, because you have to spend your time chasing cash. Without time off, money doesn’t buy you a lot of freedom.
And if you’re doing something you hate for a living, it doesn’t matter how big your salary is, or how much holiday you get. You still feel trapped.
Surely there must be a more creative solution?
This is the premise of a new free ebook by Mark McGuinness: Freedom, Money, Time – and the Key to Creative Success.
The ebook describes Mark’s unconventional career journey, as a poet and creative coach, and the lessons he’s learned the hard way about finding the right combination of freedom, money and time.
It’s full of practical advice you can apply to your own situation, if you want to earn a living from your creative talent, or if you’re a freelancer or small business owner and want to make your business less stressful and more profitable.
Mark and his partners have also prepared an in-depth training program to accompany the ebook, and I’m pleased to be an affiliate partner for the launch (see above). But the ebook itself is free to download, with no need to even give your email address!
Click here to download your copy of Freedom, Money, Time and the Key to Creative Success.
And feel free to share the ebook with anyone who you think would find it helpful.
Two heads are better than one…
I’ve heard a few people say that there’s nothing like getting interviewed to let you know what you’re really all about, and I’ve recently had occasion to discover that there’s a lot of truth to that. There’s something about the format, just replying to questions from an interested person and trying to make some sort of sense about things you normally take for granted… it seems to bring out unexpected insights.
I mean, as a professional musician and someone who’s had it in mind to be one since childhood, I’ve thought over the kinds of things I might say in an interview many times, though opportunities to deploy these musings have been thin on the ground thus far. And of course it’s not exactly the same, because the things you think someone might ask are often the things you already have in mind, whereas the things someone’s actually likely to ask might be completely different.
So it’s with some pleasure that I can now send you to an audio interview I did recently for a new series called ‘Mix and Master‘, where my new friend and colleague Oleg Mokhov will be talking to a variety of independent musicians about how they make it work, what makes it worthwhile, and probably many other things as well. I was honored to be his first guest, and I hope you’ll find the resulting conversation worth listening in on; it was definitely a lot of fun and an interesting experience for me. (There are a few audio dropouts and glitches here and there, but most of the essential points come through). More