A Sound Thinking Poll

By Ah-Keisha McCants

Designed by ET Green / Instagram

Just last month, Whitney Edwards, CAT CUNY Service Corps member and City College student, attended the Audio Engineering Society (AES) conference with our Sound Thinking cohort. She and Ah-Keisha asked attendees who visited their table at the Education and Career Fair to answer the question, “What does the phrase ‘Sound Thinking’ mean to you?”

The responses were sonically thoughtful and deep – as one might expect from audio professionals, students and sound aficionados. 🙂

Check out some notable AES responses below!

“The phase sound thinking means to me, that you’re always thinking zonally. You’re always thinking in terms of sound, even in terms of engineering, sciences, biology, you always relate everything back to sound. Everything comes in the way of sound, vibration, air, and moving.”

“I would say that means innovative ways of being creative with sound technology and pushing the limits, trying new things and not being afraid of the results.”

“When I think of sound thinking, I think of when you’re brainstorming with a clear mind and you’re really focused on what it is that’s on your mind, but at the same time not letting other distractions get in the way or anything else that could sort of take your mind off the prize.”

“I guess it means like your interpretation of sound and what it means to you as a person, as an individual. Sound Thinking is thinking in a whole different universe. You’re just floating on the sound meridian and you just are able to experience it in your mind.”

“Thinking more in-depth into sound and thinking with sound, in a way. Thinking more in depth and really listening to sounds and figuring stuff out.”

“Sound thinking sounds like a solid thought process because it is sound.”

“I think sound thinking is a form of language, where maybe words don’t work but instead let sound speak it for us. It’s quite understated because we still can’t define sound into words that is easy for anyone else to hear because it’s complicated and it’s a language that we have to decode. It speaks to those who don’t know how to comprehend it.”

“I […] think that Sound Thinking is something that we need to improve on because my mom is a hearing aid specialist and she would always remind us that those who are blind, can still communicate but those who are deaf it’s actually a lot harder and they get overlooked more so that’s why Sound Thinking is another form of communication that we all need to be aware of, like how we listen and also what we see, and how we can use sound to help those who don’t hear us.”

“The phrase sound thinking means to me, contemplating audiosonics and the various amplitudes that you may hear when you think of sound, or emotion and ambience. Sound thinking makes me think of sound in various ways.”

We’re curious about your thoughts. “What does the phrase ‘Sound Thinking’ mean to you?”

Share your answer(s) to the question in the comments section below.

Higher Learning: STNYC’s Hunter College Talk and Tour

CUNY Service Corp student Michelle Tibois and Sound Thinking NYC Project Director Ah-Keisha McCants sat down via phone-chat to speak with ‘sound thinker’ Sharon A. about her thoughts on the Hunter College talk and tour experience. The special event took place on Monday, October 15th and was hosted by Hunter College’s Deputy Director of Undergraduate Admissions and Recruitment, Joseph Fantozzi Jr.

A number of our Sound Thinking cohort-members and CAT Youth Theatre members toured Hunter’s campus and experienced a curated information session on the nuts and bolts of applying to the prestigious yet affordable undergraduate program. The students learned about Hunter’s music and arts programs and more. Student Ambassadors and current college juniors, Becky and Brooke, shared the ins and outs of applying for scholarships, internships, and lunch plans. They shared advice on making friends on campus (hint, it’s really easy), the amazing music courses available (they’re super hands-on and include special music concerts) as well as the perks of Hunter’s state-of-the-art library (students not only can borrow books, but iPads and laptops!). All in all, it was a great night of higher learning!

Michelle, who is a current senior at John Jay College kicked off the conversation. Read the interview below:

Michelle: Hi Sharon. It’s nice to meet you over the phone. My name is Michelle Tibois, […] I am working alongside Ah-Keisha and Paola for Sound Thinking. I’m a CUNY Service Corps member. I just kind of want to interview you in regards to the Hunter College experience that you had, would you mind answering some questions for me, if you have time?

Sharon: Yeah, I have time.

M: Awesome! I wanna know about you Sharon. Tell me about you. Your grade, what you do?

S: Well, I’m Sharon. I’m 17, I’m a junior. I play instruments. I like soccer. There isn’t much to that after that.

M: What do you play? What instruments?

S: Guitar, piano, ukulele.

M: Oh my goodness, that’s amazing.

Ah-Keisha McCants: She plays all these instruments, wait say them again, Sharon!

S: Guitar, piano, ukulele and a little bit of the banjo.

M: Awesome, thank you. That’s great. What did you learn about Hunter College while you were there?

S: I learned that they were a liberal arts college and I didn’t know that it was a public college and that it was part of CUNY. I learned that they had programs for music and that the tuition was under 7 thousand dollars.

M: Where on the campus did you visit?

S: We visited all of the buildings, the north, west and east buildings. We were able to see the big auditorium that I think, seats about 2,000 people.

M: What did you think about the campus? what was your impression when you got there?

S: It’s big, I mean, it’s just 3 buildings but it’s big and each building has it’s own environment. I know that there’s like different types of people in each building and everyone’s there for something different.

M: Anything that you picked up on or saw on the campus, like the life of the students or even anything that was visually appealing or the setting around you?

S: All the buildings are connected by bridges so you can just go to one building by like crossing the bridges instead of going outside in the street and crossing the street to get to the other side.

M: I like that about their school, so what are your thoughts on their music program? Especially for someone as talented as you are! What do you think?

S: I think they have music education and they have classes for history of music, like rock n roll and things like that…

M: Did you learn anything about the college admissions process that surprised you?

S: Not really.

M: So you kind of knew what the process was like?

S: Yes, in my school we talk about it so much. We’ve been talking about it since middle school.

M: What are your thoughts about going to school in NY?

S: Well, I want to.

M: What is it about NYC? Is it the environment? Are the schools good, to you?

S: Yes and I love the city and I want to study in the city. But I feel like if I was able to get an opportunity to study outside of NY, I think I would take it.

M: What did you think about the student Ambassadors, Becky and Brooke?

S: I think they were nice, I can relate to them. They talked about things I think would be important to teenagers, like me. Maybe if the ambassadors were older they wouldn’t understand what I would be asking. Like when it comes to like a food plan or jibs or internships nearby.

M: What other programs did you learn about?

S: I know they have programs for Pre-Med and Pre-Law as well.

M: What do you think you want to major in while in college?

S: I know it’s gonna be in Music Technology, most likely sound engineering or audio engineering. But it would definitely be music related. Just not music education.

M: Why were you interested in visiting Hunter?

S: I’ve been to one other college in the city, visiting, but I wanted to see my options. I knew that if I looked online I would be able to find information but I wanted to actually see the school and see how the student life is.

M: Are there any other colleges or universities you’d like to visit? Has there been any on your mind?

S: NYU. I have to do more research.

AM- I have one … question, what advice would you give to other young people who are considering whether they should go to college or not?

S: I think college is always a good option, it’s not for everybody but you should always have some kind of education in college because it can always back you up no matter what you do. At least in any job that you choose it may be easier for you to find something than just having a high-school diploma. College education is important and it will actually take you places.

AM: Any other schools in NY you’d like to visit?

S: Maybe Julliard, but I don’t know about that one.

AM: Michelle, did you ever have a situation where you had to realize, let me just take a chance?

M: Oh yeah. 100 percent. When I first I got into to John Jay I wasn’t sure how I was going to pay for school because even though I had my parent’s financial support, they weren’t able to support me fully, with all my tuition. I remember senior year of high school, a company had offered this opportunity for us to create a creative portfolio and also a creative writing piece. I remember having all these creative people around me and I was feeling very discouraged but when I applied I got support from my teachers. They reminded me of the worst that could happen, but at least I would put my best foot forward and I got both scholarships. I got through two years of college without having to need support from my parents. Then the next two years, it worked out and because I took that chance and I didn’t let that discouragement be my reality, it actually propelled me forward. It’s all about putting your foot in the door and taking that step because you never know what’s behind it..

AM: That’s what Sound Thinking is all about, promoting positive risk-taking. Well, thank you so much Sharon.

M: Thank you!

S: Thank you for calling.

Thank you to Joseph Fantozzi and Hunter College student ambassadors, Becky and Brooke, for making our visit to Hunter a memorable one! We cannot wait for our next tour and talk!

 

Sound Thinkers Say ‘YES’ to AES!

by Ah-Keisha McCants

Last Friday and Saturday, October 19th and 20th, our Sound Thinking cohort attended the Audio Engineering Society (AES) 145th International Pro Audio Convention at the Jacob Javits Center!

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AES is the premier event for Broadcast and Streaming, Audio for Virtual and Augmented Reality, Live Sound, Studio Recording, Home Recording, Music Production, Game Audio, Sound for Picture or Product Development, and much more. It’s like an audio-engineering playground, with hands-on technology at your fingertips, and icons in engineering and music at your disposal! We’re talking the best of the best—the legendary Stevie Wonder even made a guest appearance!

Thanks to the folks at AES, and particularly Lori Jackson, their Membership Director, Sound Thinking NYC was gifted with free Exhibits-Plus badges! The group participated in a number of special exhibits at AES, including the: Broadway Sound Expo, Project Studio Expo, and Live Sound Expo! They explored informational panels: Know It Before You Track It – Guitar Literacy for Recording Engineers; The Special Sauce for Mixing a Hit Record; Mix-Masters: The Art of Mastering, as well as Platinum Mastering – Past, Present Future: Changes in Audio Mastering Technology/Aesthetics, to name a few.

Sound Thinking also had a table in the Education and Career Fair at AES on the Friday of the convention. We shared our Sound Thinking mission as part of their initiative to connect learning institutions from around the world with a massive audio, sound and music community of students, enthusiasts and professionals!

Check out a few of our cohort-member highlights from the AES convention!

“I really like the microphone section because I got to hear and experience different sounds they have and they’re each made for a specific time.” – Joanna S.

“I just liked having conversations with different kinds of people… Because it’s cool to see different peoples’ perspectives. And this is an audio convention, but they’re all coming with so many different backgrounds in audio. I think that’s cool.” – Taysia F.

“Bianca likes… The networking as well, as Taysia said. Being 17 right now, a senior in high school, and having so many connections through Sound Thinking and all the things I was able to do outside because of Sound Thinking, makes me feel in a secure place. But also going out of my comfort zone is a really great thing.” – Bianca P.

“I liked walking around and exploring… The whole new experience of being around people that have the common theme of loving music.” – Annalise J.

“I liked the soundboards and just playing with them. I was getting a feel of how it was.” – Simone F.

“I liked that I was able to get a hands-on experience with the Cloudlifter Zi… And then I won the Cloudlifter Zi.” – Sharon A.

“What I really enjoyed from this convention is, first of all, the mixing boards. I never really knew there were different types. I knew there was for live sound, studio, but I never knew it was for TV shows and all. It really mesmerized me just walking through the exhibition, looking at all the different mixing boards. And having the experience from the Platinum Sound studio, and gaining a hands-on experience of being the audio engineer… That just really puts my interest in learning more about it, at a higher level…” – Angie R.

“I think I really enjoyed the aspect of just being able to hear people’s backgrounds. We met a really nice man. I don’t remember his name. I didn’t catch it. But he was at the Soundable booth. He was so inspired by women all his life, and so he was really appreciative that we were here and that we were actually taking charge to network and get out of our comfort zones, and being so young. And he really encouraged me and inspired me to continue.” – Celines H.

Ah-Keisha McCants
Project Director
Sound Thinking NYC

STNYC Tours: Hunter College

by Uma R.

It was very surreal to walk into the doors of Hunter College. Growing up in the city, I always thought that I would be leaving home to go to college, saying goodbye to the concrete jungle. However, taking the tour gave me a weird perspective on what college life in New York City would be like. In the West building, where we started our tour of the over a century year old institution, there was not one corner of the floors that was not occupied by students either studying, working, or hanging out with friends. It was strange to think that this student body population of 23,000 leaks out into the city that I live in. College life to me has never been acquainted with New York or Manhattan, because I’ve never imagined one of the biggest cities in the world being used as a college town; seeing how huge the student body population is made me realize how many opportunities there are for college students in New York City.

Our tour guides took us through different parts of the West building. We got to walk through multiple floors of the huge library that the college houses, similar to the libraries that I’ve seen in other colleges outside of the city, but what was different about Hunter to me, were the huge bridges that connected its different buildings together. Via the bridges, you could see amazing views of the city as the sun set. As we crossed the bridge that went from the West building into the library, we could see the different buildings where Hunter classes were held. Even though the campus is extremely spread out, the college still felt like a community because the student life is literally connected by bridges.

Speaking more about the community, it genuinely felt like home because there were kids from all over the country studying in the halls. It was like a small version of New York City. The diversity was comforting, especially when we walked into the music department and saw that nothing about the variety of the student body changed. Walking through an older building to get to the practice rooms of the music department was really cool, because you could see kids walking in and out of the doors carrying their instruments, while in the actual practice rooms, we could see students collaborating and playing music together. It was inspiring and uplifting to see what it looks like first hand to study and create music in higher education.

All in all, I was very grateful to have been able to tour Hunter College, because it showed me an opportunity for college that I was reluctant to take at first. Staying in the city to study for some reason seems daunting, but seeing Hunter helped me to recognize the potential that studying in a city rich with the arts could hold in my college career.

Sound Advice

by Paola Messina

Woe is Not You! Avoid Dreaded Feedback & Hear Yourself On-Stage

(Source: SoundOnSound)

Singers, did you know that straining to hear yourself on-stage may injure your vocal chords and simply turning up stage monitors (those wedge-shaped speakers) is a recipe for feedback problems?

First, consider using in-ear monitors (IEMs). When you notice a musician is performing wearing earbuds and has a pack hooked to their belt, they’re using IEMs to reduce noise and hear themselves on-stage. IEMs allow for greater mobility on stage, protection against high volume levels, and better sound quality.

If IEMs aren’t an option and a stage monitor is what you’re working with, make sure the wedge is at an angle that minimizes feedback from your mic (pictured above). It depends on the microphone you’re using, but when it comes to dynamic cardioid mics most often used for live vocals (the Shure SM58 is a staple), positioning the monitor directly behind the mic is the best option.

If feedback still occurs, equalization (EQ) might be the answer. Notching out frequencies above and below your voice’s frequency range will help you cut through the mix and remove the risk of feedback.

Finally, ask the live sound engineer to adjust the volume of your monitors as needed to hear yourself well and do a full-band soundcheck before the performance.

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For more on hardware options available for live performance monitoring for singers and other instruments, check out these resources:

On-Stage Monitoring – Sound On Sound

In-Ear Monitor Buying Guide – Sweetwater

Refresher: Different Microphones & Pick-Up Patterns – Shure

More Tips On Preventing Feedback – Sweetwater

HAVE A QUESTION OR THEME SUGGESTIONS? E-MAIL PAOLA

IN SOUND THINKING: Mrs. Butcher

by Keith Johnston 

young Keith

I was born and raised in Brooklyn NY to Cuban-Jamaican parents. We were exposed to a broad range of music during the 60s and 70s. The radio was always playing in our house. We listened and danced to everything from mambo, reggae and calypso to rock, R&B and Jazz. My mother played organ and sang in church. My siblings and I would sing in the youth choir, as I would hide behind choir members during performances. As an introverted visual artist, I spent most of my time drawing on everything. At nine years old my parents enrolled my two sisters and I in Mrs. Ray’s School for Music and Culture in Bedford Stuyvesant. Mrs. Ray was an extremely conservative dark-skinned woman. Her hair would always be in a tight bun and she dressed in navy blue and white old English attire. Her high-pitched operatic voice would really intimidate me as she taught us how to read and play music on the piano. She used a wooden ruler to smack our hands or to tap us on different areas of our back to develop effective posture and technique. It was a traumatizing experience for me. Every week I pleaded with my mother not to go but she insisted on raising “well rounded children”. After about six weeks of lessons every Saturday, and daily practice, I refused, cried and begged not to go anymore. As a way to get out of it I told my father I didn’t like the piano and wanted to play the guitar, so he released me from piano lessons.

For months I listened to my sisters practice and perform recitals playing “Moonlight Sonata” and other classics, as my father would take me to work with him. I couldn’t decide which was worse, Mrs. Ray or cleaning and mopping down a four story brownstone every Saturday. That Christmas my parents gave me a sunburst colored TeleStar electric guitar and amplifier. I was so elated, strumming the out-of-tune strings. Eventually the excitement deflated by the horrible sound and I went back to drawing in my sketchbook. My mother asked my father “How is he going to learn to play that thing?” My father said he found a teacher on Snyder Ave. The following Saturday, my father grabbed the guitar and we drove to East Flatbush. I was so excited, thinking about all those cool guitar players I’ve seen on TV or on my father’s albums, like Jimi Hendricks, Chuck Berry and Wes Montgomery. We pulled up in front of an apartment building with four rough looking teenagers, with headbands and Afros sitting on the stoop. In the window of the first floor apartment was a crooked written sign that read “Mrs. Butchers School of Music”.  The joy of my father taking me for guitar lessons faded into anxiety as we exited the car. Between the neighborhood and the trauma from Mrs. Ray I started to retreat. My father became annoyed, “Come on Boy! Don’t start! Carry this”. He handed me the guitar in a black plastic, vinyl-ish case.

As we moved toward the apartment building the teens moved out of our way. My father rang the bell and a woman with a big smile and round glasses looked out the window. She unlocked and opened the front door wearing a floral housecoat. I remember thinking “she plays the guitar?” She warmly greeted me, much different from Mrs. Ray who was very stern. “Good afternoon young man. I am your teacher Mrs. Butcher. What kind of guitar do you have there?” I proudly said “a TeleStar”. “Oh” she said, obviously not knowing what that was. Knowing my father it was probably the cheapest guitar he could find.

We entered her eclectic living room with shiny wooden floors, dim lamps and floral wallpaper. Her dusty old chandelier, much different than Mrs. Ray’s shiny elaborate one, provided a homey comfort. I was enthralled by the messy artistry; all the instruments around the room. Hanging on the wall was a big 36 inch saw with wooden handles on each end of it. The only furniture in the room was an antique couch with a plastic cover, a glass coffee table, wooden nightstand and two plastic covered dining chairs with a music stand in front of it. My father paid Mrs. Butcher for the lesson and book and said he would be back by 2pm.

After my father left I stood in the midst of the room amazed. Mrs. Butcher asked me to sit in one of the chairs. I sat staring at the different brass and woodwinds on the bookshelf and thinking, “Does she collect all these instruments or does she play them?”  In the right corner was an upright piano, in the left corner an organ; behind me was a series of string instruments, cello, violin, upright bass and a banjo in a corner next to a vacuum cleaner. “Are you ready?” she asked. I asked if she played all these instruments. She said yes, noticing how I stared at the saw on the wall. She asked if I wanted to hear it. I signaled “yes”, not really knowing what she meant by playing it. Noticing my distraction she removed the saw from the wall, sat on the couch, placed it between her thighs, grabbed a bow and began to play. It was the most remarkable thing I had ever heard. The saw sounded like a human voice. She made it sing. In that very moment I fell in love with the infinite possibilities of music. As a result, for the rest of my life, I never stopped studying and digging for the music inside me, living the musician’s endless journey of exploration and discovery through collaborating in this universal love language. From playing in bands at school, jam sessions, block parties and local clubs to recording studios, tours, recording artists and performing at Madison Square Garden, Rockefeller Center, and in front of thousands in venues and stadiums around the world.

Thank you Mrs. Butcher for those inspirational Saturdays of patient instruction, spontaneous jam sessions and a skillset that set me on a musical pathway to self-discovery and creativity.

Keith Johnston
Director, College & Adult Program
CUNY Creative Arts Team

Reflection: Blue Man Group

by Kailee-Jade Berrios

STNYC & CAT Youth Theatre members, with CAT staff, post-Blue Man Group experience

First of I just want to say thank you to Ania Grzesik for inviting us to see The Blue Man Group. Ania was a panelist during our inaugural summer intensive Mentoring Friday’s event. I don’t have any words for this show; I was speechless. I’ve always wanted to see this show. Now that I finally saw it, it was definitely worth it. The thing that stood out most about this show was their use of sound. It felt like having our own jam session. The production used different types of instruments to create their sound. They used different colored paints with their drums — the drums had such a loud bass, I could feel it in my chest! When they used the paint on the drums, the paint bounced back when they played. The paint looked like little tiny colorful spots; it looked like something you would see at a fountain– they were really beautiful. 

They also used pipes to create sound. They used the pipes to make the sound louder — like when you roll up a piece of paper and speak into it, your voice gets more bass and volume. That’s what it reminded me of and when they connected the pipes; the sound was sooo amazing. I’m telling you it was like their own jam session on that stage, not only did they do sound but they used comedy. That show was HILARIOUS and every skit they did made me laugh. They even brought people from the audience onto the stage! My favorite part of the show was when the Blue Men went all the way to the back of the Astor Place Theatre and grabbed paper rolls and threw them at us to keep it rolling. Plus, their lighting design was amazing; it felt like I was at an underground club. It was the best experience and I recommend people to see the Blue Man Group for themselves. I would definitely see that show again in a heartbeat.

STNYC Staff & Students

Sound Music Reviews

Hi, Clara and Jasmin here! We are two students from the inaugural cohort of Sound Thinking NYC! We decided to come together to create this column to share some of our favorite pieces of music to all of our readers in hopes of expanding your palate. With our reviews of production, sound and background information, we hope to help you discover new music and artists that you normally wouldn’t listen to. Music is a very large area of opportunities and we hope through this monthly column, we could make it a little easier to get to know some great artists to watch out for! Thank you for reading!  – J & C.

Review By: Jasmin Bota

This month the album I’d like to focus on is the soundtrack to the popular musical, Waitress. Originally a famous movie back in 2007, composer and pop singer Sara Bareilles brings this movie to the stage with her raw emotion, and beautiful interpretation of this heart-wrenching journey. The show is a self-discovery story about a woman named Jenna who is married to an abusive husband. After one drunk night, Jenna finds herself pregnant and must decide whether or not to leave him for good after she gives birth. To cope, Jenna finds baking to be a sense of comfort and uses it as her creative outlet—throughout the show she uses baking to help her figure out her problems. As Jenna’s pregnancy progresses and Jenna’s pregnancy journey continues, Jenna begins to fall in love with her OBGYN and the two start an affair that will change her life. This emotional rollercoaster of self-doubt and re-discovery creates a story that has listeners on the edge of their seats from start to finish. 

Waitress is an award-winning musical and is the first Broadway show to have an all-female creative team. Waitress has also set the record for the most money earned in previews for a play showing at the Brooks Atkinson Theatre. This album includes powerful ballads by Broadway actress, Jessie Mueller, who plays Jenna and is mostly known for her role as Carole King, as well as appearances by Kimiko Glenn, Keala Settle, Drew Gehling, and many more. The heartfelt lyrics and emotion within this album makes Waitress a story to remember and with a band of very few, this music is as raw as its story. I would rate this soundtrack a 7/10 because of its storyline and plot as well as vocal richness. The only reason I will not give it a 10 is because Broadway shows are simply better in person. The magic of live theater is one that is well underestimated! 

Although streaming this album is a gift on its own, seeing the show with it creates an experience I’m sure every music lover would kill to get their hands on. 

Rating: 7/10
Album: Waitress the Musical
Composer: Sara Bareilles

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Review By: Clara O’Connell

In late 2015 and early 2016, the vocalist of the British band Marmozets, Becca Macintyre, endured two intensive procedures on both of her knees, immobilizing her for months after the operation. Those months spent in solidarity launched Macintyre into a depressive spiral to the point where she considered quitting the band, something she had been working on since she was fifteen years old. But she felt as though the stage was where she belonged, and she could never give that up. Little by little she began to get back on her feet and find her place again. And so Marmozets, comprised of Macintyre’s brothers Sam and Josh on guitar and drums, respectively, and brothers Will (bass) and Jack (guitar) Bottomley, began recording for their second album Knowing What You Know Now later that year, 2016.

The album features dance-y songs like “Meant to Be,” big rock songs like “Habits” and “Suffocation,” and slower, more somber songs like “Me & You”. The sonic diversity of the record was a deliberate choice; “That’s the beauty of art; you can go in so many different directions,” says Macintyre to Rock Sound magazine. Macintyre’s vocal performance is incredible and impressive—switching from angsty rock sounds in songs like “Major System Error” to a strong, deep voice in songs like “Insomnia”.

Despite the variety in sound throughout the album, Knowing What You Know Now has a common idea running through it. It’s “about going through all the trials and the crap that life does bring… It’s about realizing and getting some sort of method to fall in place for you to be able to deal with those situations, when they come back around,” is how Macintyre describes it to AltPress magazine back in January 2018. In a sentence, this record is for anyone looking for an honest British rock album with a strong vocal lead and energetic band to back it up.

Song: Run With The Rhythm
Rating: 4/5
Album: Knowing What You Know Now (Roadrunner Records)
Artist: Marmozets

The Artistic Life of Chris T.

In honor of National Arts Education Week, we asked our Senior Leadership Team to talk about their artistic lives, aside from their work here at CAT – and here’s what Chris Tokar, our Director of Resource Development, had to say…

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I serve as the Director of Resource Development here at CAT.

My job is all about bringing resources – typically money – into the agency, via fundraising and winning and managing contracts for our services.

But the personal resources I use to get the job done grew out of my personal development in the arts.

I was always an artsy kid, and my first job at age 12 was trading my labor as an assistant for art classes at a local museum.  Helping the younger students get their paints and watching the magic of red and yellow making orange never got old.  Then I could pick up my own brush in the afternoon and dig into trying, once again, to get the still life right.  I loved the cool ground floor studios, the smell of old paint and the shelves full of plaster models.  I felt like an important part of the professional art world!

Chris, working on a painting in high school

High school and college ceramics taught me that the process is as important as the product.  If you only pay attention to the final product, you miss out on a lot of the benefits of practicing the craft: the mesmerizing spinning of the wheel; the enjoyment of literally getting your hands dirty; the blurring of the lines between the creator and the creation.  Plus, if you are only thinking about that mug you want to make for Christmas, and ignore the opportunity to be deeply invested in each step of the process, your final product will probably be flawed. Paying attention to how you do something and being fully engaged in it makes life richer, and makes for better work. It also gives you the freedom to be proud of what you produce, because you have invested your best intentions and efforts into making it.

But perhaps the most important thing that all of these muddy, friendly, communal art spaces taught me is resilience. When your pieces blow up in the kiln, when the shape and color aren’t quite right, when you know that you haven’t really put the spout on a teapot correctly so you throw your masterpiece into the slip bucket and start again: these are all difficult things to face, but easier in a supportive community. To try again and again builds tremendous skill and ultimately teaches you how to get consistent, desired results in almost anything. And the act of trying again and again, with a bit of a ruthless standard, can also give you unexpected gifts. You know – and you act on it – that you can do better. You understand that mistakes are more common than successes. You make mistakes that are more beautiful than your initial idea, and you learn to use these mutations and errors on purpose to build your repertoire of skills and outcomes. Nothing beats that kind of educational experience. Especially when you don’t even realize it is an educational experience.

When I talk about these experiences with my colleagues, they are mirrored in every discipline – drama, music, and dance. There is a wealth of resources that children can tap into when they are given the opportunity to engage in the arts. I love the fact that my work at CAT helps provide opportunities for thousands of NYC students each year to open the door to their potential, to develop their abilities, and to start building their own resources.

Sound Advice

by Paola Messina

What is compression and why is it important in music production?

Compression is used to even out the dynamic range of an audio signal.  

 Our voices have dynamic range and thankfully so! It’s only natural for the volume of the speaking and singing voice to fluctuate. In fact, it’s a powerful source of expression. The same can be said about instruments and variations in how loudly/quietly we play them.

When it comes to recordings, however, listeners shouldn’t be reaching for the volume knob constantly to make adjustments. This is where the compressor does its magic, insuring that both the quietest and loudest parts of your mix aren’t too low or too high to hear properly. Lower audio signals are boosted and louder ones are attenuated, creating balance between the two extremities.

Compressors can be applied to individual tracks, but are also a common addition to the final mix, shaping the dynamics of the track as a whole for extra power, punch and energy!

Before you compress:

• Record a clean take! Wait until you’re editing and mixing to add compression.
• Experiment with different settings and make sure you’re familiar with the meaning behind each of the parameters (Attack, Release, Ratio, Threshold) as you make your adjustments
• Less is more – over-compressing may bring noise and unwanted sounds to the forefront!
• A/B’ing: Listen to the track with the compressor engaged and with it bypassed so you can compare and contrast as you go.

To sum up this first edition of Sound Advice… Listen closely to compress, no stress!

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For more on compression and techniques, check out these resources:

A Beginner’s Guide to Compression – Sweetwater

A Guide to Compression with Examples– Tutsplus

How Does Dynamic Range Compression Change Audio? – How-To Geek

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