Randy Coppinger recently wrote a great blog post recently about not getting caught up in tool choices or being dogmatic about approach, and just focusing on the problem at hand, tools be damned. I couldn’t agree more.
This reminded me of a corollary to Randy’s thesis: The tools we use shape what we create.
While that’s perhaps self-evident, that’s not always a good thing. Tools can be creatively inspiring, but they can also become handcuffs, blinding us to better ways of working. Or, even more sinister, subtly changing our work to be something other than we intended.
If you’re a woodworker, what you can do without a lathe can be pretty limiting. Or a jigsaw. Or a coping saw. If you have all of these things, your creativity can be freed from many restrictions, since you are removing constraints upon your ability to execute your ideas. Such restrictions can really get in the way of earning a living in a crowded marketplace. A car mechanic, for example, won’t get a lot of work if he doesn’t have a hydraulic lift and an impact wrench.
So it goes with digital creative professionals. A visual designer these days can’t operate without a computer, and it’s a tough life without Adobe Photoshop. An audio professional can’t work without a DAW, and it’s hard to be competitive if you don’t know ProTools reasonably well. A field recordist needs microphones. And so it goes.
But microphones or recording techniques can have certain tonal characteristics, just like how raster artwork (e.g., created in Photoshop) looks different than vector artwork (e.g., created in Illustrator). It’s important to realize that the tool choices we do make aren’t always going to be neutral. Every tool choice imparts some color to our output. Rendering one’s idea in charcoal will be emotionally quite different than rendering it in pencils. Different sizes and shapes of chisels affect the texture of a sculpture. Capturing a sound with a Rode NT1a will sound different than with a Neumann TLM-103, even on the same material and from the same perspective, yielding different emotions and tones when listened to.
None of us can afford a warehouse of infinite tools…the Tardis tool shed doesn’t exist. But neither is poverty an excuse to not be aware of your tools’ influence on your work. Knowing the attributes of your microphones lets you know what you might want to modify and sculpt audio recordings in post, just as a woodworker might use fine-grit sandpaper by hand for those last touches that really give a piece the personality of the artist, not just the texture of his or her tool’s “fingerprint.” A person on a limited budget and constrained equipment can achieve greatness by adding tons of knowledge and insight. A metalworker with limited tools might only be able to create things of a certain scale, just as a limited-resource recordist might pick only certain subjects to record due to the limitatons of his or her kit.
Randy’s point is one that I absolutely agree with: Properly frame the problem and establish a conceptual framework for solving it, and let that dictate the tools you use. Don’t always rely on the old standards. Expanding this line of thinking, however, forces you to also look long and hard at the tools you use. Always be slightly suspicious of your equipment, which influences and colors what you create. That can be wonderful and enhance the source material. Or horribly inappropriate and lose the character of the original. But there’s a big difference between being conscious of those differences and being blind to their influence on your work. That way lies ambivalence, which I’ve written on before.
A common phrase on Jeff Wexler’s production sound forum regarding equipment versus the user goes something like, “It’s not the arrows, it’s the archer.” Knowing your arrows’ quirks lets you play with the results. And that’s where a creative professional moves from being an informed craftsperson to becoming an empowered artist.Tags: art, creativity, design | 1 Comment »