Happy New Year!
–Or if you've arrived to this post via a search query–
So, what's this blog all about?
CRITICAL NOISE is about SOUND in all its many facets–
–From natural phenomena to sonic branding and other musicological topics. And as it can be heard in the ecology, our educational institutions, entertainment, industry, advertising and everything in between.
This blog is not a personal dairy, nor do I even think of it as about me, so much as it's about my experience with sound. I do keep a professional journal but I don't use it to write about the sometimes esoteric topics presented here. Critical Noise is like the op ed section of a newspaper that only reports about sound.
I attempt to post one article a month, up to 3000 words per article (they do get long). I may post an article in its entirety initially, but then later break it up into a bite size installments before archiving, if only to test the patience of those who do stumble here from search engines.
And few people want to read a 3000 word think-piece on the relationship between early childhood development and bird song as much as I may want to publish it. But if you are one of those people, you've come to the right place (Aural Intelligence ).
None of the articles published here are time sensitive, although some links may naturally expire. If you love the subject of sound, you'll equally enjoy my most recent entry as you will something I posted several years ago.
Want to get started? You can start at the top and work your way backwards but I suggest you head over to the index and sort entries by tag or subject.
So, who am I to assume such an interest or fair degree of expertise in these topics?
My name is Terry O'Gara. (A select list of clients and accounts can also be found listed in the left margin).
Beginning in 1991 I've made a living producing commercial music, sound design and sonic branding projects. And since 2003 I've provided brand and image marketing solutions, in the capacity of a creative consultant, to independent artists, artist management and creative entrepreneurs doing business in the advertising and entertainment industries. Interested parties are welcome to contact me via email to the address listed in the left hand margin.
Along the way I've been fortunate enough to have had the opportunity to produce, direct audio or otherwise contribute to a fair number of projects that went on to be recognized by the Advertising Entertainment Complex and international design community. So, yes, I've got a few awards. Earning them was once important to me. I only mention them now by way of providing readers with credentials.
* I was a key member of the first team of music supervisors supported by a commercial music house.
* I was a senior producer on the first Olympic music library delivered with Meta tags and a digital database.
* I was one of three internal supervisors/ producers that created that first Meta tagged music library –pre iTunes.
* I was the senior producer for the first commercial music company to offer product ‘sonification’; and in this capacity I produced –or was part of a team that produced– sonification assets for AT&T and TeleTV, an early interactive Television platform.
I was also the senior producer for the first company to produce corporate audio identity systems, where I became the key architect of standard operating procedures for production at what turned out to be the first U.S. bi-coastal music production house and the leading sonic branding enterprise of its time.
Additionally, I was an early adopter of pre Protools computer technology as a musical instrument and recording tool; and co-founded the first dedicated interactive music production house that catered to Silicon Alley. Blister Media was the first music company to provide music, sound design and code as a standard service. Mix Magazine, in their Interactive Audio supplement suggested Blister Media's hybrid practices were a portent to ‘The Future of Music Production’. And as such, Blister Media was the first music house to provide such services for Sync-To-Broadcast events/experiences, such as for MTV's webRIOT.
I've also produced sonic identity and music imaging promo packages for ABC, CBS, Disney, E!, ESPN, Fox, HBO, MTV, TBS, TNT, TNT Asia, The Comedy Channel, PBS, VH1 and not to mention TV and Radio projects for many household brands.
The best part of it simply was –and is– the opportunity to work with other uniquely talented and creative people in the earnest attempt to create remarkable advertising, accessible information and maximized entertainment entertainment experiences.
And so much the better if we burn a blazing trail while doing it.
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THE MUSIC PRODUCER'S SYLLABUS
Young people (or the simply curious) interested on just exactly what a commercial music producer is and does on daily basis are invited to read a number of articles I've composed explaining as much and collected under the the series title:
The Music Producer's Syllabus
Academic Institutions and persons are of course invited to print, distribute and expand on The Music Producer's Syllabus for limited educational purposes. Kindly credit and notify the author via email, and provide a trackback or originating URL.
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I hope you enjoy reading Critical Noise.
Comments are invited.
Spread the knowledge.
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(This article last updated January, 2009)