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WHO COULD YOU BECOME?

A LIFE STUDY OF TWO AUDIO PROFESSIONS

Brass Instruments are an important part of a wide variety of musical genres. From classical orchestra and chamber music, to big band jazz or church trombone choirs. When we sit in a concert hall, captivated by the encompassing sound, we tend to forget the craftsmanship that goes into every instrument. In this blog I want to take a deeper look at the profession of brass instrument making, repair and restoration. How do you become an instrument maker? What skills and responsibilities does this profession entail? And what are the challenges of following a centuries-old tradition?

Brief Historical Background

Brass Instruments have their origins in ancient times. Prototypes were seashells or

hollow animal horns, often used as means to signal over distance due to their high

level of amplification. The oldest crafted brass instrument was a natural trumpet

called Scheneb, found in the tomb of pharaoh Tutanchamun. So it can be assumed

that the tradition of brass instrument making dates back to the Egyptians. Over the

following centuries these rather primitive ancestors evolved into the sophisticated

instruments we know today. The development of the instruments themselves and the

craft behind them were always strongly influenced by general advances in

metalworking and in return effected the musical expression of the times.

The instruments of the baroque period for example only allowed for the playing of

notes in the harmonic series (with the exception of the trombone). Only after the invention of valves around 1810 could brass instruments be used to play chromatically. So the craft of brass instrument building was never just a service to the music of the times. It can be seen as an integral part of the creative process too.

The Role of a Brass Instrument Maker

As instrument maker, Norbert Walsch explained to me, the most important and joyful

part of his practice is the interaction with players. For that reason his workshop is

open to the public so that anybody can observe and overview what exactly is

happening to their beloved instrument when it gets 'under the knife'. Apart from

manufacturing of new instruments his services include repair and overhaul,

reupholstery, varnishing, gilding, plating, professional cleaning and maintenance,

individual modifications and restoration of old instruments. Some of his customers

are professional players to whom their livelihood depends on their instrument. So an

attention to detail is of the greatest importance.

Required Skills & Training

The road to becoming a brass instrument maker in Germany usually goes through an apprenticeship with an established company or through specialized schools. The skillset acquired by the end of the education typically includes the following:

practical training: including mechanical parts and bell construction, material techniques, surface treatments, mechanical adjustments and repair methods
trade-related education: instrument making theory, technical drawing, mathematics and physics & acoustics
general education & musical training (typically not part of an apprenticeship): including music history and theory, music lessons and/or ensemble rehearsals

But as everyone self-employed knows, a purely trade-related skillset will only get you so far. A good customer contact is almost as important as the quality of your work. Most of Walsch's customers are regulars that have gained a trust in his expertise and work ethic. So if they need an emergency repair done before an important gig, they know that their instrument will be back and playable in time. As in all instrument making fields conventions are the main platform for client acquisition and networking. They are an opportunity to present your work to the broader, interested public.

The Building Process

In his book 'The Modern Trombone' Stuart Dempster states: “The trombone is not an instrument in the usual sense, since it has no reed to make sound; rather it is a resonator of whatever sound is introduced at the mouthpiece.” This is true for all instruments in the brass family. Two main factors effect the sound of a brass instrument while resonated by the player's lips: the attributes of the material and the shape of the instrument.

Material & Shape

Brass instruments typically consist of a mixture of copper, zinc and nickel-silver alloys for inlays. The proportion of the materials have a significant influence on the sound of the instrument. Increasing the copper content makes for a darker, warmer and heavier sound while a higher zinc content creates a brighter, thinner and lighter sound. Apart from the composition of the material, thickness and hardness are important factors too. There are different processes for

softening and hardening the material.With the thickness the weight and projection of

the sound increases.

The shapes of the instrument's tubing, bell and mouthpiece all significantly influence

the sound. The length of the tubing defines the fundamental pitch. As the main

resonating part the bell determines the amplification and clarity of the produced sound,

while the shape of the mouthpiece effects playability and tone.

All of these design choices work together to create the unique characteristic of the

instrument. The instrument maker has to strike the right balance between these factors

to achieve the desired sound. Therefore an in-depth knowledge of the materials that

are used, the steps to process it and the acoustic effects is essential. Every player's lips and the resulting buzz are different. An experienced instrument maker can also help the player find the instrument that fits best to their personal style of playing.

Tradition vs. Innovation

The field seems to be chronically understaffed. A lot of workshops are hiring and schools have problems filling their classes every year. Like a lot of traditional professions the craft of instrument making faces a number of challenges in the modern world.

At Norbert Walsch's workshop everything is hand-made – no computers allowed. For a lot of brass instrument makers (and players) the 'hand-made' tag is important. It means that every step of the process has a consistent quality control but even more importantly it means that the finished instrument is completely unique. It has a soul. The competition from Asian manufacturers is fierce. These companies produce in production lines and use CNC machining to save labor costs. As a result the instruments are significantly cheaper than a local hand-made model. They quickly took over the amateur market where the player's expectation can be met easier making a lot of traditional manufacturers orient themselves towards professional players only. But the making of high-end instruments needs highly experiences workers which are increasingly harder to find.

The production of brass instruments raises environmental concern. Zinc reserves are

expected to last roughly for another 15 years with a relatively low recycling rate of

around 30 %. UK manufacturer pBone produces plastic alternatives to brass

instruments with 10% of the carbon used in making a brass instrument. While the sound

of plastic still doesn't compare to brass, they have become a common choice -

especially for music schools – due to their low price, lighter weight and longer durability.

Traditional manufacturers are coming up with new solutions as-well. The Saxon

company Werner Chr. Schmidt developed a red trumpet that is free of nickel and lead and

compares well to conventional instruments.

With a steady interest in high quality instruments, good customer service and a growing trend of the restoration of old instruments not all hope is lost for the brass instrument industry. But the field has to come up with effective and sustainable solutions for the sourcing of materials, waste management and recycling.

The profession of brass instrument making is fascinating to me because of its blend of craftsmanship, design and acoustics. It plays a crucial role in the development of the musical landscape as a whole. As a trombonist myself I find it interesting to retrace and understand the necessary part of the creative process that comes before I pick up my instrument to play.

Sound artists are the stray vagabonds of the art world. Working somewhere between music, sculpture and performance art, they are never quite at home but nevertheless have a distinct expression. While the primary medium is usually sound, a sound artist's work can include any art form, from painting to dancing, to animation etc. But what does the profession of a sound artist actually look like? What are differences and similarities between the practices of different artist?

Context

Sound Art finds its roots in the work of Italian artist Luigi Russolo who developed a set of

instruments in the early 20th century which he called Intonarumori. As a futurist he

embraced the noises of the industrial age with an open mind and recreated them with the

help of his instruments. His work was groundbreaking because it didn't quite fit in the

musical realm, yet the musicality in it was hard to deny. It made people think differently

about the relationship between music and noise. Over the next decades, especially since

the 1960s, a lot of musicians, composers and artists turned to sound art after realising the

limitations of their respective fields. But it took half a century until the term sound art united

different sound practices under one umbrella. In 1979 Barbara London curated an exhibition

called Sound Art at MoMA New York with mainly audio-visual works which is cited as the

first outing of the term. Before that sound art as a profession did not exist. As a derivation of different artistic practices sound art is a difficult term to associate with. Until today a lot of artists working in the field prefer to be associated with their originating profession, may it be composer, musician or performance artist.

Education & Training

The typical formal path for sound artists can lead through any sound related education. This can

include music, musicology, music production, sound engineering, electrical engineering,

electro-acoustic composition and so on. But it is not necessary. A lot of sound artists are self-taught or

enter the field from very different backgrounds. Diana Moreno, sound artist and electronic musician

from Mexico City, told me she became interested in the field through her psychology studies, questions

of perception and the potential of sound as a psychological intervention. She then continued her

studies with a masters degree in architecture because of her growing interest in space and acoustics.

This theoretical background serves as an inspirational framework for her practice. Though most of the

hands-on skills necessary in her work are acquired through experience, experimentation and

mentorship. Pieces of sound art are rarely isolated works but attempt to explore spaces, concepts or

processes through the means of sound. In her work sound functions as a sort of spatial informant. The way sound behaves in a certain space can provide information about its architecture and the way it is perceived can explain an emotional potential inscribed in the space. So the educational path leading into sound art really depends on individual background and practice.

The Creative Process

As in all art forms the creative process in sound art is very personal. But from talking to Diana and comparing practices of different sound artists I tried to extract a general approach that seems to ring true for most works.

Conception and Research

The process usually starts from a point of interest. This can be a theoretical idea, a socio-political process, an interesting space, technological development, a story the artist wants to tell or simply a sound or soundscape. This is followed by research into the subject. For the example of a site-specific piece an extensive knowledge of the space or site is at least helpful, often necessary. What are the acoustic properties of the space? Does or did it have a specific purpose? What are the creative limitations imposed by the space itself ? These are questions the artist will try to answer before developing the piece itself. But this stage can also include a lot of experimentation, especially with technology-oriented pieces.
Planning

A lot of sound works are large-scale projects that need a considerable amount of planning. Especially for commissioned works on a dead line this is crucial to not run into problems further down the road. Coming up with a proof of concept can help with grant applications and assessing the general feasibility of the project. In the case of sound installations or sound sculptures this is the point to answer questions of material, dimensions and the tools or skills needed to build them.
Execution

This is when the idea takes form. This stage typically involves processes related to audio production like composing, recording, editing and mixing. Creative problem solving is often necessary to effectively communicate the idea in sonic form. Especially in collaborative works problems of compatibility or relation between the different elements can arise at this stage.
Presentation

Depending on the project the artist has to find the right setting to exhibit or perform the piece. The seeming immateriality of some sound works allows for a wide range of potential spaces or methods of presentation. Often, the quiet, white rooms of a museum are not the best choice for a piece. A lot of sonic art wants to be integrated in a specific surrounding, a public square, a subway tunnel or a virtual place online.

The Work Environment & Day-to-Day

Diana does most of her work in the back room of her small synthesizer shop in Mexico City where she

sells and develops synth modules and holds work shops on DIY electronics. Similar to her artistic practice

the space is a meeting point of ideas. The in and out of interested people allows for facilitation,

inspiration and collaboration. But the work environment varies from artist to artist and project to project.

Diana thinks sound artists have to develop the ability to be in a constant state of auditory awareness.

There is no such thing as silence and some places carry sonic information which can be extracted by the

artist. So if you keep an open mind or ear, any place is a potential work environment.

Sound artists commonly work on multiple projects at the same time. Since different projects move at

different speeds this means that an artist can be involved in very different tasks on the same day.

Diana recommends to split a day's work into creative and administrative tasks. She explains that creative

work demands a very different head space of her that is hard to achieve and maintain if interrupted by

other work related activities. So the first half of her day is spent with whatever creative engagement a

current project demands. And the second half consists of writing emails, coordinating projects,

responding to open calls etc.

Challenges

One of the central challenges sound artists face is finding the right exhibition format or space. In an interview with Indrek Grigor, sound artist John Grzinich from Estonia explains “In visual arts we have an evolved culture of galleries and museums with special lighting, dimensions and colors to enhance the viewing experience. There are not many parallels with sound 'galleries' per se.” This circumstance makes it difficult for sound artists to have a consistent possibility to present their work. Which in return impedes building a following of people interested in their work. On the other hand the site-specificity of a lot of sound works keeps the art accessible and inclusive since galleries set a specific framework that many people (or artworks) don't feel comfortable in.

Another challenge lies in the term 'sound art' itself. It is not very accurate and therefore difficult to grasp. Since the wider introduction of recording technology with which one is able to separate sound from the object that created it sound has become an immaterial phenomenon in our cultural understanding. Which is not necessarily true and it blurs the difference between sound art and music. Categorizing terms are important for the public understanding because nobody can grasp the art world in all its complexity. But a vague term like 'sound art' that even experts can't sufficiently define makes it seem like a complex subject matter that is only accessible with an amount of background knowledge while sound art in reality is very experiential, subjective and can be enjoyed by anyone.

Outside of her artistic practice Diana works two jobs for twelve hours a day. The small target audience, expensive and time-consuming projects and vague definition of the field all make it hard to develop a sustainable practice. Most sound artists have to rely on multiple income streams and work outside of the field. This forces artists to develop a truly unique practice that in most cases is only applicable to very few commissions. Thats why it is crucial to develop a strong network to stay informed about potential work and collaboration.

Diana's central motivation is to create spaces that are bright, quiet and safe which are rare in Mexico City. Sound becomes an essential tool in this pursuit because of its ability to demand our attention. Sound artists teach us to how to be aware of our sonic surroundings and actively shape them. I believe sound art's claim to existence lies in its spatial features and potential to warp or eliminate our understanding of time. In a manner of speaking it can create a timeless space.