Making Sense of the Human Condition

Category: Music

The Airfix Model – Rejecting Goal Based Thinking.

Many of us carry an inner philosophy of ‘goal based thinking’.  I know I do and like many learned behaviours it probably stems from childhood.  Much of our indoctrination in early life and at school is to strive and achieve.  Goal based thinking is being overly obsessed with the result of your endeavours and the expectation of achieving it.  Needless to say if all you can see is the end goal, you’ll never learn to appreciate the journey and your world will become pointless if the end goal is never reached.

As a child I used to make the odd Airfix model or two.  From the moment I took the plastic parts out of the box, I was in a race to produce a model that looked exactly like the picture on the box.  All I could see was the image of my gleaming creation, complete in its Humbrol’d livery and  carefully applied waterslide transfers…But it never quite ended up like I envisioned.  I’d get glue on the windows of the cockpit or I’d snap the undercarriage of the aircraft before I’d fixed it in place.  Then I might lose a few of the smallest pieces, spend a fruitless few minutes trying to find them and give up soon after in a heap of frustration..  The few models that I did finally get to fruition basically gathered dust on a shelf until wheels or wings got broken and they were discarded…

The journey to my goal was not at all enjoyable and if the goal was ever reached, it wasn’t valued.

An alternative approach to goal based thinking is ‘value based thinking’ where you consider the journey as part of the experience of reaching your goal.

In my Airfix model example I should have spent more time preparing my tools, mating the parts correctly, enjoying the progression of the build over a much longer time period.  Once it was completed I’d have looked upon the finished model with pride, and felt good about the journey it took to create it.  I’d have also valued the finished product more and taken more steps to protect it for the long term like putting it in a presentation case.

Although a complete failure at Airfix models, I’ve had more success applying this mindset to my music.  Just as with the Airfix model, I rushed my first attempts and made terrible mistakes that couldn’t be fixed without starting again.  I eventually learned to take more care, and thoroughly study the tools and the engineering and craft of producing music.  This provided a much deeper sense of achievement and enjoyment from making a new record.

But I have to be really honest,  once an album is released,  it’s creatively, a dead end for me. There is no joy creatively for me from that point on unless I’m going to make a video or some other artistic offshoot.  Once the album is finished I then have to switch from an artistic perspective to a marketing and business one in order to give it the best chance of being a success…and this can be a painful process.   For many artists it’s so painful that they neglect to give it any attention at all and their newly created masterpiece fails to find an audience.

Whilst it’s always gratifying to see people’s responses to the music, mentally I’ve moved on to the next creation, the next journey.

In an ideal world I’d like to completely bail out of the process at this stage and hand everything over to someone in the PR arena.  I’d argue that musicians are the worst people to promote and sell the record.  You need to be dreadfully thick skinned to take the rejection of a cynical and disinterested press and utterly persistent to the point of annoyance in doggedly getting the attention it needs.  

But hiring good PR professionals takes a great deal of money and there is no guarantee any of that investment will pay dividends.   I’ve learned a lot about myself over the last few releases and even more from running my tiny label Gravity Dream Music.  I have an endless capacity for details in pursuit of what I personally consider to be the goal, even if that goal is actually far removed from anything that the audience will ever recognise.   This is a dangerous path for any commercial venture because it means all your time and money will be eaten up in tiny details that your audience might not ever see.  But equally it’s your unique superpower.  When you spend a huge amount of time perfecting these tiny details, the overall impression of the finished product to someone else is that you’ve made something impossible or magical.     

MAKING SENSE OF AUDIO – PART 2 – Why CD Audio has all the resolution any audiophile will ever need.

The invention of the Compact Disc format that we know and love today is dated to around 1980 when Philips and Sony settled on the ‘Red Book’ standard, specifying a 120mm optical disc containing 2 channels of digitally encoded audio, with 16bit values sampled at 44100Hz. The format could store 74min-80mins of music on a single disc which was almost double capacity of a typical long playing record.

MAKING SENSE OF AUDIO – PART 1 – Your Ears

 I’ve decided to start writing more about audio because I’m endlessly fascinated by the whole thing and it helps me to cement my own knowledge in what I do in producing Cosmograf records and for other artists.
  

Every day is school day and I kind of think it is a responsibility to have some answers for those people that do see me as having some knowledge and expertise in this area.  I’m also interested in the misunderstandings that a lot of people seem to have about audio particularly in the area of playback and the myth and legend that seems to come up when people start banding around file formats, bit depths and sample rates and maybe not understanding what those numbers mean.  I don’t want to start a war with audiophiles, as we are very much on the same side in terms of caring about audio quality,  but I do think there’s a clear disconnect between what we do in the studio and what people think we do in reference to what they hear on their hi-fi systems.

Releasing New Music and The Art of Progression

I’m about to release my next album, a few weeks away now and someone asked me a great question recently which I think deserves a wider audience because I think the answer is relevant to any anyone that has ever presented any artistic endeavour to a wider audience.  WARNING. This is a long rambling post so skip to the tl; dr below if you don’t have the time.

Are you nervous before releasing new music? (Thanks to Jean-Maurice Bicard for this great question)

An Artist’s Dilemma- Deciding to Sign or Self Release your Music.

Here’s a dilemma which will surely resonate with all modern artists of all media.

The modern artist today has seemingly 2 major choices to get their work out there. 

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