Time We Discuss: Musician and Audio Engineer with Chromesthesia
Watch/Listen to this Episode Musician and Audio Engineer with Chromesthesia
This episode of Time We Discuss features Bryan Woolbert, a visually impaired musician and audio engineer. Bryan shares his experiences and insights into the music industry, as well as the dynamic nature of his roles as a musician and an audio engineer.
Bryan explains the variability of his daily routine, often split between music production tasks, creating keyboard presets, or updating his website and booking performances. He emphasizes the significant unpaid work involved in the industry, including social media, and photo editing.
On music production, Bryan shares insights into using high-quality MIDI instruments, which provide accessibility and versatility for modern songwriters. He credits his mentor, Kit Worton, for teaching him production skills and acknowledges the advantages of advancements in music technology.
The conversation shifts to education, where Bryan contrasts the value of formal music degrees with independent learning. He notes that performance skills largely depend on the quality of instructors rather than formal credentials, citing personal experiences with exceptional teachers like Sal Dupree and Ruth Naomi Floyd. However, he argues that a formal education is more crucial for aspiring audio engineers due to the technical knowledge required.
Bryan discusses the challenges of securing gigs, noting that location and networking play pivotal roles. While South Jersey poses difficulties, he found greater opportunities and support in communities like St. Petersburg, Florida. He also touches on the evolving music industry, where independent artists must now shoulder financial responsibilities for production, marketing, and distribution, contrasting it with the decline of traditional artist advances from record labels.
The discussion delves into strategic decisions for releasing music, weighing the pros and cons of singles and EPs versus complete albums. Bryan advises that these choices depend on an artist’s brand, goals, and genre, acknowledging the time and financial investments involved in professional production.
When asked about music videos, Bryan emphasizes their importance for audience engagement, despite the challenges they pose, particularly for independent artists with limited resources. He advocates for leveraging visual media to enhance the reach and impact of music.
In the concluding segment, Bryan shares his experience with chromesthesia, a rare form of synesthesia that enables him to perceive colors in music. He encourages music educators to identify students with similar abilities early, helping them unlock their creative potential. Bryan hopes his story inspires others to embrace their unique talents and contribute positively to the music industry.
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