SELF PORTRAIT: A PROMPT FOR SELF REFLECTION
As a creative practitioner, my creative practice, processes and identity define me and my work. However some background information might be pertinent before we delve too deep into the contents of this post. My name is Brandon Hayward and I’m an audio engineer, producer, musician and singer-songwriter. I primarily work as a producer on albums under the umbrella of rock - including soft rock, punk rock, grunge, hard rock and blues rock (please keep this in mind, it will be really important later).
In an attempt to prompt an inquiry of sorts regarding how my interests, or the aspects of my “self portrait” explain or contribute to my professional identity, I have created an interactive Pearltrees collection outlining a range of things that I feel depicts me as a creative practitioner. This collection serves as a plethora of information, images and inspiration all pinned to the metaphorical pin board, awaiting the lines to be drawn and the connections which might have previously been unknown to be made.
This collection can be observed and interacted with below.
DRUM MIKING TECHNIQUES.
I’ve started here because as a producer and audio engineer, a large portion of my job is capturing the drum kit to an extremely high standard - when it comes to drum kit miking, I set the bar very high for myself due to how crucial it is.
In the drum miking collection, there is an article that I very often consult when I am looking at miking a kit in a minimalist fashion (often in blues or folk to capture more of the room and the raw energy from the live performance). In addition to this there a a few images that represent some of my other approaches - ranging from “throw every microphone on there, why not?” too “This is a proven, informed and sensible decision”.
These images and articles very accurately represent my creative process in regards to recording drums - it all depends on the genre and the intended aesthetic. This is first and foremost for me. There is no sure thing for every situation and circumstance - in most cases being decisive and deliberate choices based on the desired outcome of the project is always the best approach. However, if that doesn't work, may I redirect you back to “throw every microphone on there, why not?”
INFLUENTIAL BANDS AND ARTISTS
As you can see within the “INFLUENTIAL BANDS AND ARTISTS” collection, there are a range of bands and artists that have heavily inspired and shaped not only my creative practice and my professional identity, but also my decision to pursue a career in audio to begin with.
These bands and artists include the following:
Nirvana - Kurt Cobain was a genius, “Polly” is one of my all time favourite songs
Cage the Elephant - Brilliant example of mainstream rock that still feels pure and honest
Foo Fighters - The most talented & inspiring group of musicians under one banner
Arctic Monkeys - Alex Turner’s voice is heaven, their music is extraordinary
Ed Sheeran - Best singer-songwriter alive, yes I went there. Yes this includes Bob Dylan and Paul Mccartney
Chilli Peppers - Their tight, funk inspired rock is just plain awesome
The Black Keys - Dan Auerbach is one of the most underrated musicians in modern music. Would also beat jack White in both a fight or a guitar battle (for those who know the rivalry)
Dave Grohl - Dave Grohl is my spirit animal and my idol. He’s just honest and great.
INXS - The best rock to come out of our backyard, truly captivating
This list of bands and artists strongly reflects my professional identity - this is the music that shaped me to be the person i am today, and not surprisingly at all, I am now a rock producer and a singer-songwriter. Coincidence? Probably not.
However to further this thought, with the exception of probably Kurt Cobain. I respect the moral compass and integrity of each and every musician in each band on that list. A major part of my creative identity is that I connect with music very emotionally and spiritually. Unlike most people I know, I am unable to separate the message and content of a song to it’s enjoyability. For example, if a song displays content that I don’t agree with (the misogyny in Eminem’s early works) I don't care if the song “sounds” good, or if’s good to rap or dance too - I don’t enjoy the song, and honestly I view people who do with less respect. Sometimes this becomes and issue for me, and has been the cause of many disagreements with close friends. However this just emphasizes the fact that there is a correlation between the integrity and morality of my role models and my own identity as both a creative and a consumer.
INSPIRING PRODUCERS
In the “Inspiring Producers” collection, the pickings look a little slim. However, these are my most respected and revered producers - the best of the best in my humble opinion. As can be observed the list consists of.
Dan Auerbach
James Ford
Rick Rubin
Firstly, Dan Auerbach, as mentioned above, is a monumental influence on my work - not only as a musician and band member, but also as a producer. In addition to producing on his own stuff and for his band The Black Keys, he has also produced for, plot twist, Cage The Elephant - another band that’s on my previous major influences list. Dan Auerbach approaches his music with a simplicity that I truly respect - just feeling it and going with what sounds honest and passionate not what the industry dictates as right.
James Ford is the next name on the list. Ford is a huge influence for me based on his work with the Arctic Monkeys - for whom he has engineered and produced every studio album except “Humbug” which was produced by Queens of The Stone Age frontman Josh Homme. I respect Ford for his elegant simplicity and the overall deliberateness with which he approaches his creative practice. I find that Ford’s work on the Arctic Monkeys albums always achieves the aesthetic goal of each perfectly - which is a notable achievement considering the speed which which the Arctic Monkeys evolve and transform across their albums.
Finally Rick Rubin is the final name on the list due to his sheer tenacity and business attitude. I find his work inspirational nonetheless, however it’s Rubin’s dominance over the industry that I respect and draw inspiration from.
Reflecting on this brief evaluation of this particular category, it would be appropriate to say that these three producers accurately describe my approaches and creative process when it comes to producing - being honest and passionate, being deliberate and calculating and to be dominant, unstoppable and relentless.
FAVOURITE GEAR
As the contents of this folder reveal, I am a Fender guy. Most guitarists can be either associated as a “Fender guy (or girl)” or a “Gibson Guy (or girl)”. As I’m not a fan of overly heavy, clunky, questionably designed guitars with a very little personality - I am, by default, a Fender guy.
However funnily enough, I do love Marshall amplifiers - which is strange because Gibson guitars and Marshall amplifiers usually go hand in hand. However, I love vintage fenders through vintage Marshall tube amps. Just ask my girlfriend, we don’t own a couch but I do have three fenders and too many Marshall amplifiers to explain in this post.
In addition to this I love recording to tape and using tape machines in modern applications and projects. Tape has a certain quality about it that just brings out the honesty in a recording - if tape is an option, my recommendation is to always use tape.
Another aspect of this category is my how I enjoy vintage outboard gear such as compressors and tube equalizers - for the same reason that i enjoy tape, I enjoy vintage outboard gear because of the character that it can impose on a recording.
Finally, I enjoy Pro Tools. Pro Tools is a gift from the gods, which allows all of my favourite pieces of gear to culminate in an extravaganza of audio bliss. Or in a less dramatic sense - Pro Tools does exactly what it promises and it does it well. Other programs can often be disappointing and quite frankly falter in comparison to the big PT.
In review of all of these aspects which contribute to “My Favourite Gear”, a trend of enjoying vintage instruments and gear that express a lot of character and uniqueness is quite apparently present. This is a very true representation of certain aspects of my identity as a practitioner and my creative practice - I prefer analogue to digital but fully respect and appreciate the capabilities of modern audio gear such as Pro Tools and high-end plugins.
CONCLUSION
In conclusion, this brief snapshot into my creative “self portrait” has left me with a wealth of beneficial information. To elaborate, if asked point blank, I would be able to give you the same inferences and comments about my creative process (My style of producing, my approach to technical tasks, why I am influenced by the music that I am?) However, by identifying what defines me as a creative and what has shaped me to be the person and the practitioner that I am today in my self portrait, it becomes blatantly clear WHY all of these factors have become a part of both my personal and professional identities - it gives the answers context, and answers questions that I hadn’t even thought of asking.
