Composer, Designer

Creative Freelancer







About Colin

Creating since 1992 (-ish)

Colin Carter is a 21-year-old musician, sound designer and creative freelancer from Phoenix, Arizona.  Colin has worked in a wide range of creative disciplines, earning two AAS degrees from Paradise Valley Community College for Music Business and Audio Production Technologies.  He works as an employee in the Paradise Valley Community College Center for the Performing Arts as a technical assistant, lighting designer for rock shows and sound designer for most of the plays and musicals.  Colin is also involved in the Scottsdale Community College film scene, offering assistance sound designing and boom operating for local short films.  In 2012 Colin won two awards at the Scottsdale Community College Film Festival: 2nd place in Sound Design, and Best Original Score for Jacen Sievers’ Witness.


When not working alongside his friends in film and theater, Colin writes songs and plays in bands with his musician friends, as well as produces and engineers music with other local musicians.



Proficient In

 Protools 10 & 11



Freelance Recording Engineer

  • 2010 to Present

Composer for Film

  • Winner:Best Original Score 2012 SCC Film Festival

Live Sound Engineer

  • Performing Arts Employee at Paradise Valley Community College
  • Worked at Phoenix venues such as The Nash, Desert Botanical Gardens, Club 910, and Joe’s Grotto.



Proficient In

Adobe Photoshop
Adobe Illustrator
Ulead 3D Production Studio


 Freelance Graphic Designer

  • 2010-present
    • Flyers
    • Posters
    • Web
    • Logos and Branding



Proficient In

Adobe Premiere
Pinnacle (AVID) Liquid Edition
Zoom H4n
On Location Field Mixers


  • Production Experience

    • 2011-present
    • Sound (Mixer and Boom Op)
      1. Helsing (2013 ArtOfWar Pictures) – Mixer, Sound Design, Co-Composer
      2. Anxiety (2013 Robert Price) – Boom Op, Mixer
      3. Draw (2013 Grey Wind Productions) – Boom Op, Mixer
      4. James the Janitor (2012 Alone Wolf Pictures) – Mixer, Boom Op
      5. Witness (2o11 Reel Rapscallions) – Composer, Mixer, Sound Designer
    • Art Department
      1. Kix Brooks “New To This Town” (2012 Team 2 Entertainment) – PA/Intern


Here's What I've Been Working On:

Dreamy Draw

Dreamy Draw

Produced Recorded and Mixed


Music and Sound Design


One Space or Two

My entire concept of reality has been shaken to its core recently. No, I didn’t have an existential crisis or mental breakdown due to a near death experience. Instead,



Learned that I prefer one space after a period instead of two.

Since I first began writing, during the death of the typewriter period to the transition to computers, I had always been told by my loving (and grammar loving) mother that two spaces was the way to do it. See example:

How now brown cow?  Lorem Ipsum quick brown fox.

As the internet confirms,  this way was proper in the age of the typewriter because of scumbag fonts like Courier New (jk Courier, I love you in film scripts). Monospace fonts such as Courier, where every letter is even, leads to what might be seen as poor separation between sentences. And why wouldn’t it? If you’re reading a sentence and aren’t paying attention to reference points like a period, the words might seem to go on and on! A far cry from the olden days where periods meant dictating literally told the reader to yell “STOP!”

But now that fonts exist (thanks Steve Jobs), we are able to graphically engineer letters in a computer environment to not come out equally from tiny hammers, but to look their best on the page from a legibility standpoint. This leap of legibility has left the Chicago Manual of Style, AP Stylebook and Modern Language Association all changing their tune on sentence distance. If I were a man of puns (which I’m not) I’d say something stupid along the lines of they “spaced out” in informing us. I kept writing my entire high school career using two spaces between sentences on essays, papers, letters, and tests. I never even had the chance to feel guilty over cheating the system and padding my papers a little more! Instead I had to find out about it years later through either backhanded comments “Why do you use two spaces between sentences?” or snarky internet comments on Reddit. Either way it left me to examine my entire life’s path up until this past month, when I conducted tests such as writing this example:

How now brown cow? Lorem Ipsum quick brown fox.

…and analyzing my reactions to the two. The thing is, I prefer one space. It just looks really stylish and slim, compared to a now sort of unevenness or bloating of typographical topography. And I know there are detractors that are fully pro double spacing, and I understand it’s honestly not that big of a deal. But it changed me, I realize I prefer something that now feels alien, and every sentence I type I now have to hesitate after I complete a thought, just a little bit longer now. But it’s all for the greater good. The greater, Modern, English good.


 “Lil Jon, he always tells the truth!”

I Love the Manual

Or is it I hate the manual?

Both, definitely both.

Nonfiction has always had a certain prominent place in my heart. For some strange reason nonfiction books about moviemaking, comedy and business were my 13 year old version of fairy tales. They were written by people that had the insider information, the connections, the vision. When you’re a kid and all of your friends interests are almost a full 360 from your own, books can be your friends; they can be your acknowledgement that yes, it is all possible! When I was 13 watching Nicktoons was just an abstract form of passive form of entertainment, but by age 14 I had books of interviews of the creators, and how to guides. And just like that I went from passive consumer to “Wait a minute, these guys were just like me!” Sure, I could have gone from watching to making anyway, but would it seem as possible? Would it seem as real? I don’t think so. I think books were able to push me past the early phases of giving up because I just wasn’t that good and didn’t have the encouragement of a large group of friends saying “Don’t worry about it, you’ll be fine!”

In this way the manuals saved my life, and proved that there were others like me out there, and it’s alright if my parents and friends don’t get it.

The other side, however, only made itself apparent to me later on. You see reading became addictive! It became this thing that I could hold onto and live vicariously through. I obsessed over interviews and talks and speeches and the successes of other artists I admired and looked up to. It didn’t matter if I was a kid in the middle of the desert, I still had access to the thoughts of those that inspired me the most, and I still had the guides to fill in the numbers and do it all myself. As I kept at it, though, that second half made itself ever so apparent. Instead of doing, I could just read about doing, and instead of solving problems for myself, I could read about someone’s toils and go “I agree!” I call this manual thinking, and I think it’s the go-getter’s version of reality television. Consuming the success stories of other entrepreneurs is the equivalent of eating buttery popcorn and watching a Real Housewives table flip. Ted talks, Fast Company article, blogs and podcasts are great tools for saying “I’m so knowledgeable now, if only I do a little more of this I’ll be unstoppable!” But the words of the wise always resonate around the same point: Living vicariously through others is not living.

Only when I stop reading the how to’s and start working without a map do I ever finish something with proper satisfaction. I had just about every book imaginable for TV writing, cartooning, animation, animation writing, etc, but it was only when I started playing music without any knowledge or training where I realized “Oh, this is an option too.”

To this day I can still quote blogs and nonfiction articles better than most TV shows, but at least I realize the place it has in my life. I realize that they are for encouragement and entertainment, and in no way a supplement to making my own mistakes. In fact, if I realize I’ve watched a days worth of manual thinking and lost a days worth of failing myself, well then that failure is the biggest of them all!


 I’m too messed up now to get it out!

The Friday Five: 09/20/2013

Janelle Monae: Ghetto Woman

The Electric Lady is the latest installment in Janelle Monae’s 7-part Metropolis sci-fi epic.  The album is so cohesive and complete it initially seems unfair to limit a review to one standout track.  However, since my first listen to the album this song has been a standout track.  I’m a big fan of dynamic juxtapositions of elements.  Whether it’s really loud and really quiet, really intense with really freeform and loose, or even as simple as really happy with really sad.  In the case of “Ghetto Woman”, Monae takes a break from sweeping concept pieces about androids and aliens and galactic criminal manhunts for a simple and innocent ballad about her mom.  The song is visually rather raw and visceral for Monae’s lyrical standards, but… the instrumentation is a grandiose, over the top electro-funk-rap JAM.  The song starts innocently enough with vague Brazilian or Afrobeat rhythms, and hints at R&B flavored pop for about two minutes.  The song quickly takes us off course, however, with a building of tension that goes from soft spoken lines to full on screams.  The final explosion comes along with a very personal and very aggressive rap by Monae, ignoring fancy symbolism and wordplay for a directness that is augmented by horns that fall somewhere between Gorillaz “Sweepstakes” and Radiohead’s “The National Anthem”, and a roller coaster of a guitar riff that always keeps you slightly off balance.  The song ends as rhythmic and unassuming as it began, and ushers in the next track soon enough, but makes sure we all realize that with Janelle Monae, raw and intimate doesn’t have to mean slow and melancholy.  You can jam the blues.



Arctic Monkeys – I Want It All

There’s just something about the Arctic Monkeys and being cool.  They seem to just ooze it, even without trying (I guess that’s the only way to be cool).  If anyone has followed the band before their past few albums, it was remarkable how many lyrics Alex Turner could squeeze into four bars, and now they can just leave a portion of the song singing nothing but “Shoo-Wop” and coast, no questions asked!  Despite saying they want it all, the minimalist class of their new material clearly proves they want the idea of it all, but when it comes to actually putting it all together, they’re fine with a bit of mystery.


Balkan Beat Box – Move It

Balkan Beat Box is very much my kind of band.  It’s global, aggressive, groovy, psychedelic and heavily percussive, too!  There are many artists like them that I wish I had discovered years ago and not only recently, and my musical journey could have been a bit different, but I’m glad to find them nonetheless.  “Move It” is from a 2010 album, so stepping back in time a bit, but I feel like the beats and sounds are as fresh and intriguing as ever.  The beats are huge, the saxophones trashy eastern European, and the raps remain innocently boastful.  They’re not trying to rob liquor stores and deal in hookers and blow, they’re just making beats like gorillas and trying to send you to outer space.  And when I hear the percussion breakdown after the countermelody saxophone lines in the bridge of the song?  That’s exactly where I am, at least.



Paul McCartney – New

I don’t know if it’s possible to dislike Paul McCartney.  Sure you can ignore him, I guess… though I don’t know if anyone has successfully done that, either.  When you were in the biggest band in history one could assume you could just coast off the success of that, make a few new songs but complain that the kids don’t get it.  McCartney on the other hand, keeps his head steadily in the trenches.  He plays on Colbert, he works with Mark Ronson, he’s every bit as cool as he ever was.  Admittedly Mark Ronson’s name on the song New in particular was the draw that first piqued my interest, but McCartney’s revitalizing, and not just rehashing the 60’s Beach Boys/Beatles vibe, really sets him apart from his bitter and dated contemporaries (*cough* Rolling Stones *cough*), and keeps him, well, new.



Lady Gaga – Aura

Lady Gaga is often considered too mainstream to be cool.  She’s weird and pop and outrageous, which is fine if Karen O is doing it, but as soon as you involve Jimmy Iovene the equation blows up.  However, I am mortal and I have weaknesses.  My biggest weakness?  Anyone who does over the top, overambitious things in the name of innovating an entire artform.  Even if you say that and you totally suck, you have my attention.  Lady Gaga claims to be doing this with Art Pop, and has me paying closer attention than certainly any of her previous albums.  The first song to leak, and perhaps the hardest song to track down, Aura, is by far my favorite.  It’s a strange noir-cum-dance-cum-eastern-trance-rock number.  The only relation I can draw to Art Pop from what I’ve heard is this generation’s Midnite Vultures (Beck), with EDM as a base instead of R&B and funk.  Aura itself has a fascinating chromatic descending guitar line in F melodic minor, so the melody has the same roller coaster effect as I mentioned in the Janelle Monae example, but because the key is so eastern, it is also more unsettling to our western pop ears and therefore more dangerous sounding.  Gaga continues to prove her ability to be ridiculous, intriguing and remarkable, and I only wish all artists could be so bold, as then I’d have more than one or two entries in my “Most Overambitious Album of The Year” ranking.

The Social Workbench

Social media is the future, sure.  But for being so omnipresent it sure has been getting a lot of flack recently.  Sites like Twitter or Facebook… you know… the heavy hitters, are talked about like some kind of seasonal hobby or obligation (“I think I’m going to take a month off Facebook, it’s just so, like, ugh…”).   I’m a regular user of certain social media.  I’m an avid Facebook lurker and occasional poster, and I’ve tried everything from Twitter to Tumblr to Snapchat to Path.  Unfortunately, however, many of the latter examples never “stuck” with me.  I can’t quite put my finger on it, I’m okay with sharing and definitely okay with connecting.  I just don’t sync with the interfaces.  However, I think a big problem is I don’t revel in doing stuff.  You know stuff: vacation photos, dinner photos, conversation snippets, inside jokes, etc.  Instead I revel in making stuff, which is a big difference.  Making stuff can’t happen as often.  You can quip on the hour every day, but you can’t release a new song/painting/project every hour or every day.  Not to mention not everyone thinks they can be creative.  To some, creativity is a fear, to others a distraction.  I’m not after connecting with those people, but those that judge the relevancy failure of sites like DeviantArt are.  Because it’s much easier to collect art in Pinterest than it is to share it.

However, I have a modest proposal for my ideal social network, one in which I hope to incorporate into my future workspace.  And that’s what I want it to be, an interactive workspace.  When I visualize important information in my day it is always in some sort of natural hierarchy.  My thinking of the weather is much less important relative to my thinking of food, or my Friday deadline.  So then why are social networks in ever-equal feeds?  Because you can’t declare one person’s opinion over another!  But here’s where I think the next wave of social should go (totally my opinion, though):

Zooming In

Everyone has a Facebook, so there’s no point in inventing the next one.  I think the next Facebook will not be a public forum, but a home.  A space where perhaps Facebook members can log in and interact with their specific niche, on a specific domain, not on an inefficient and generically designed “page”.  Sites like Reddit, Squidoo, or Facebook do a fine job of popping up a stand for brands to fit into a communal space, but what if one wants to go to an Apple Store as opposed to Apple stand in WalMart?  In order to zoom the brand message, the network will have to zoom into the space of just the brand.

Natural Hierarchy

Reddit takes the clear lead on this one.  I like content that is organized by relevance, not newness.  Sure, the methods of sorting may be humanly flawed, but that is much easier to fine tune than a reimagining of the concept of human thought into streams.  However, the distinction comes from personal interaction.  Facebook uses algorithms to sort relevant messages in the same way Pandora uses algorithms to sort songs. They may produce fine results for some, but given the chance Trent Reznor will always call one “a bit synthetic.”   A sort of policing through up and downvotes ensures subjects worth talking about rise and trolls and irrelevancy gets lost in the noise.

Group by Project, Not by Organization

Because the network will be organization specific, pages will not be around your entire brand, but one specific facet.  Think album, think song.  Think a group about one specific song, including lyrics, various recordings and record of every show it was played live in all in one place.  Oh and it connects to another group for another song through an allusion that can be linked together and talked about by those that noticed.  I think this kind of interaction can be essential in the new world of connection, not tangibility.  Right now vinyl is making a comeback because it’s the only way music fans can wave a badge of honor that they are true fans.  Vinyl collecting is a lifestyle of saying “I’m in the club”.  But what next?  The industrial age is over, next comes digging deep and connecting, not buying and hoarding.  I think collection and categorization of songs in such a site could replace the novelty of liner notes one HUNDRED fold.

What Am I Up To?

These sites may be about movements, but at their core they’re about people.  What is the founder up to?  This is where the workbench comes in.  What if you allowed others into your writing process, your recording process, your editing process?  New revisions can be grouped together, voted upon, commented upon.  If you’re working on 5 songs and one song keeps getting attention while the others are falling, what is the smart business decision?  Not to make an album!  This workbench can be a compass towards resonance, or a place for creative anxiety and fear of sharing that “million dollar idea” to the unworthy.  I like to believe in the former.  Think of it as the candy store effect.  Every time you walk into a candy store you can look at all the candy, and in Willy Wonka’s case ooh and aah about the machinery and magic behind the confection.  Done right the sharing of digital media can have the sweetness of a candy coated confection, looked through behind glass until you just have to buy it using all your lunch money.

The Real One Percenters

These sites probably aren’t for you.  They probably aren’t for your grandmother.  But they are for people who think like you.  They are definitely for your fans!  Likewise these sites should be designed around being generous to the one percent of the most devoted true fans.  Whether it’s an abundance of trust, free prizes, or interaction with the most important members of the tribe, the one percent should have all the fun.  Why?  Because then more people will want to be the one percent, and the only way for that to happen is to add more people to raise the statistical odds!


Social media is not theoretical.  It isn’t a term paper.  Mark Zuckerberg dropped out of college, he didn’t write a term paper called “The Social Connector” and outline his stolen plan.  He went out and made it using the tools that he had at his disposal.  However… here I am sitting in my bedroom, sans mad Ruby on Rails skills, and an open blog in front of me.  So I’m using my only tool I have: the power to hopefully spark something in you.


Why always qualify, and never quantify?

An Ode to iPhone

Despite the fact that it’s almost a crime to dislike Apple if you’re a fan of design, for many years I was anti-Big Apple.  I’ve been a PC since my first computing experiences at age eight.  Growing up Apple was always “simple” but as a negative adjective.  Simple meant easy to use, lacking customization, or even creativity.  My first devices, whether they were a Motorola Razr or a Pocket PC (before smartphones there were Pocket PCs), were all of the “other” persuasion.  The cutting edge glory of these products was their almost “unlimited” customization and pre-Android smart features.  However, they almost universally lacked a straightforward navigation system and sense.

Sure, they could do a lot, but they could never just do it.

The process of transferring music and videos took multiple steps, web browsing was flawed because of inhibited features, and early Android was so open and scatter-designed, it took me 3 whole separate apps just to solve my email problem.

This past winter, however, I finally made the switch to iPhone.  I know I know, it should have happened a while ago.  But really the iPhone 5 just felt right for me.  I’d played the rest of the field, and now it was time to settle down with someone a bit more sophisticated.  And iPhone provided just that.  Unlike my Razr, my Samsung, my Motorola, my Droid X, the iPhone fit my life like a glove.  It proved that great design makes a product more than the sum of its parts.  While it may not have the roster of features that can be placed in widgets, it has just the right assets in just the right places.  iTunes integration is seamless, and support is more streamlined than anything else I can think of.  I truly feel like Apple is some sort of science fiction based big government agency where everything is in its right place and the customers are content.  But that is the difference between dystopian and utopian: I’m content, very content… if not elated!  To this day I still take my phone out and just hold it and marvel a bit, like a kid with his favorite toy.

It’s my business manager, microphone, bank, music player, third computer screen, flashlight, social liason, notebook, calculator, textbook, alarm clock, reader, guitar tuner, blog reader, newsstand, second brain and Star Trek level communication device.

If only it could do a little more…


How you say ‘tech love?’

Impostor Syndrome

I don’t necessarily know when it started, but it was around the time that I started playing music.  You see at first I thought musicians were ordained.  Picked.  People that weren’t me.  I spent all of my time from being born to age 15 making movies, writing stories and not making much music.  My time had passed.  By the time most friends were just picking up their first few serious hobbies, I was having an eighth life crisis!  I eventually figured out that this wasn’t going to stop me, though.  I began writing songs and recording more frequently, and eventually went to college for it.  I followed the steps of “just showing up” until I was seen as “good” at it.  Like surprisingly well received.  I was convinced, deep down, however, that I was fooling them.  I knew that the tests were just in my favor or got lucky on a project or everyone else just wasn’t trying and I had to try extra hard just to keep up.

This is pretty much a textbook case of Impostor Syndrome, or a situation where someone feels like an impostor or fraud compared to those around them.

The problem with Impostor Syndrome is it’s pretty easy to diagnose, but pretty impossible to stop.  My brain is literally able to understand “why” I’m being irrational, but my “lizard brain” is too anxious to do anything about it.  This lead to a combination of this year and last being probably my least productive, but most educational in a while.  Unproductive because I shared very little, afraid of the laughter and disapproval of many, and educational thanks to the supportive help of a few.

How do I expect to beat it?

Quantity, I think, is my secret weapon.  If I have a schedule and stick to it, no put downs allowed, I can remarkably finish things.  As soon as I make the decision to post every day the idea of “perfect” goes away and the idea of “good enough” takes over.  The remarkable thing about good enough, is if your standards and taste are high enough, good enough will soon turn into trying for great.  Some posts will never come close to great, but that’s okay, because it’s all about the process.  And the process ensures that I’m never too much of a failure or fraud to try, only to be a hero.


Faster and faster I should run…

The Age of Equality

When you’re a kid, everyone you look up to, without a choice, is older than you are.  Age seems irrelevant at the time, and dreams seem miles away.  However, as you grow older and older, the age gap between you and your favorite artists shrinks and shrinks.  Always being the youngest of my friends, the straight A student that seemed smart and creative, I was used to this idea of being the youngest one with success.  Even if the success was irrelevant to the rest of the world and only in my own little microcosm, I was happy thinking that my age didn’t hinder the fact that I could do stuff.  And stuff I did!

I tried just about every hobby known to man throughout my elementary and middle school years, but could never stick to one.  I was the young filmmaker, young author, young etc, but was never satisfied.  There was still a huge gap between me and those I connected with most.  Those I connected with weren’t my friends or family, but filmmakers, authors, musicians and poets, no matter what age.  I longed for the day in which I was an equal, not the cute little kid pretending.

Until it happened.

I think high school is the appropriate age for when parental influenced child success can stop taking center stage, and a kid can actually be responsible for something big on his own.  High school was the time when I made the most important purchase in my life so far: Pro Tools.  Pro Tools wasn’t the most important purchase because it was revolutionary, or I wasn’t able to edit audio before that, or that I even cared that much about editing audio.  What Pro Tools represented, though, was democracy.  As soon as I had an interface and the program started up, I immediately had the same access to any of my greatest heroes.  Every hit on the radio was crafted from the same tools (or the Logic equivalent).  The day I realized what that software represented was the last day I could blame my youth, my circumstances, or pretty much anything but myself for my failures.  The fact that my songs weren’t hits wasn’t the fault of where I lived, how I tracked that drum, or how I added that cross fade, it was because I wasn’t good enough yet.  It was a great playing field leveler.

When the field is leveled, however, two things can happen.  You can admit you’re not going to catch up, or speed up.  I tried to speed up and push beyond my limits immediately after until I became somewhere between burnt out and a gigantic failure.  It took until college to pick up the pieces and figure out my own rhythm.  A funny thing happened towards learning how to adopt the patterns of my idols, though.  People that I enjoyed or even looked up to for their bravery or ingenuity could be younger than me!  Justin Bieber, The Beatles, Prince, Bo Burnham and Lady Gaga were all lapping me on when they started and how quickly they got to where they were trying to go.  I switched from being the young optimist to the panicked observer, wondering why I’m not connecting with people in the same way in my little room in the middle of Arizona.

Of course more than when panic strikes, I realize I can also enjoy, and perhaps even look up to these examples as inspirational.  Heck, I still have two more years before I truly fail my 10 year plan to domination (and get beat by Vampire Weekend).

The example that made me think of this today, though, was Jake Bugg.  At 19 years old I was wondering to myself if it’s cool to appreciate his music, as to, I suppose someone who is older but with the same amount of skill.  I realized that my bias of age had turned into wondering what others would think of not even myself, but my preferences, and that has to stop.  I have friends that were born after me, I have heroes born after me, but more importantly we all have many years ahead of us to change the face of entertainment, not behind.


When you gotta get out:

Infinite Ideas, Infinitesimal Execution

There’s an improv game, or so I’ve heard, involving a box and ideas.  The concept is when someone opens the box, something is in it.  This proves to be fairly easy to most people, and without much work at all we can have a box of infinite possibilities.  Of course some picks will be more obvious than others, some more clever, some more stupid.  However, that is pretty much the price of admission in any field where you choose to say “Okay, I’m going to be creative.”  But creative doesn’t have to be painting, or writing, or improv theatre.  If you are at a party and meet someone new, your breaking the awkward tension is an example of the box game.  Eventually no matter how awkward the standoff, someone will either come up with “So, how do you know _____” or “So what do you do?” or any variation.  We never get conversation block in real life, but it runs rampant at the idea of writing for yourself.

When it comes to making just about anything, I don’t think it’s bragging to say I have just about an infinite amount of ideas for everything.  I can essentially say that for the next 15 years I could write something on this page and have SOMETHING to talk about, because in real life I will still be talking to people.  I will never run out of things to say in real life because there’s always a new experience or new scenario or person to meet.  But this abundance of ideas cannot just flow as free without some sort of mechanism.  If you’re talking to a stranger, the mechanism is your presence in the situation.  If you could be somewhere else in an instant with no consequences you wouldn’t have to ask about their personal life.  However, the act of being social involves the forced hand of, well, socializing.  Likewise, I feel like the only way I can accomplish a task such as writing is with an equally forced hand.

Execution, for me, includes a certain rigidity that my own nay-saying voice cannot argue with.  My conscience can say “you can say that a bit better with more practice.” And the problem is it’s right.

I know for a fact I would be more successful and have better organized thoughts if I posted something once a week and shared it twice as often.  However, there’s something immediate and uncensored that is missing from that experience.  There’s something that becomes less impulsive and visceral and more calculated and laziness-prone.  Because the problem with posting every seven days is on the seventh day I will sit in the same chair with the same thought “I haven’t written anything yet.”  And I know from the box game, that if I wrote every night I could have seven times the amount of thought for that week.

The only thing getting in the way is myself.


Sometimes I dream about reality:

What About When They Don’t Get It?

Whenever we make something we all want our friends, family, and even complete strangers to “get” what we mean.  We want our goals and visions to resonate and matter, but we also want to have it our way.  We want to bake the inevitable cake and eat it, too.  There are some platforms that lend themselves really well to following your own instinct and compass and the results working well for everyone.  This has everything to do with the arts and fashion and nothing to do with bureaucracy and neurosurgery.  There’s this middle field, however.  A bit of a blur to the amateur and seasoned professional alike.  That is the client-boss professional relationship.

When Does Taste Start and End?

If you conduct a brief survey, an almost unanimous reaction to “Whose taste is more important, the client or the designer” ends in “The CLIENT, DUH!”  In many cases this is the obvious and only answer.  The difference between an amateur and professional is the difference between the man with the plan, the scope and instructions and the service provider.  Notice the word artist never enters the equation.  The designer is not hired to paint pretty pictures or write pretty melodies, they’re hired to listen to the boss and interpolate.  But what if the boss is unclear?  What if the motivation is for the wrong reasons?  What if the designer thinks their taste is on a whole different level and the boss just doesn’t “get” it?  I am in the middle of a project where what was supposed to be the final rendering was on the other end of the spectrum to what the boss wanted.  A fundamental failure that was entirely my fault.  Well, my taste’s fault.  We both had strong inclinations to what the imagery and dialogue insinuated at, and both couldn’t have been more different.  The problems and reasons it escalated to that point are of little relevance but of more than a little complexity.  Needless to say, communication was infrequent and expectations never calibrated to the same measuring stick.  Was it anyone’s fault? No, but now we all have to scramble to pick up the pieces.

Despite the disagreement, I still have strong opinions and (I feel) justifications for my ideas, but the boss sees it completely differently, and is potentially asking for me to compromise my own core values for something more tried and true.  Half of me knows that the client is always right and I should get behind his vision with the accuracy of a fine suit tailor, not a fashion designer.  However, the other half of me wonders how much is my job to lead the boss?  How do I complete my job if I’m coloring by numbers, isn’t my job to bring my own taste and place it on the table?  To try big things?

I think the answer is somewhere in there.  The answer might be to suck it up and accept that I might be missing some of the bigger picture.  It might also be pushing forth my vision and citing my job as a taste setter.  However, I think my most important job is to ask questions more than distill answers.  As I’m constantly reminded, it’s awfully hard to design your cake and eat all yourself.


And who doesn’t want it all?

Friday Special

Today’s post isn’t as informative of a subject as much as on what I’m trying to do from now on.  I’d like for Fridays to be some sort of special, whether it’s an album review, movie review, video review, podcast, or something.  I’ve been thinking of how I could adapt into some sort of video blog on my favorite “things” and maybe calling it either Haute Cultre or OMGenius!  Or maybe even a series in which I give things the Colin Carter Seal of Approval.  I can conceptualize and think any of those ideas are cool enough to warrant my, well, seal of approval.  However, I’ve yet to decide on a particular direction to go in.  I was going to post an album review of Janelle Monae’s The Electric Lady today, but because of heavy workload (and a wee bit of laziness) I didn’t get one prepared in time.


… is a big factor in what I can accomplish.  I know it’s “possible” to write a blog post every day, because I can knock one out in a half hour if I have to.  Video or audio, on the other hand, requires a bit more preparation and work, and I’ve yet to figure out a set way I could make it work time and time again, week after week, all by myself.  I also enjoy a certain sense of quality, and think my taste should be reflected in my work.  However, if every Friday my work is up but of a sub-standard of my desires I may as well not do anything at all!  In which case maybe a special text post can come every Friday, but once a month or two weeks could be a more elaborate “show?”  Really though, I’m fascinated with the kind of Youtube culture that I’ve only been a lurker of in my focus on blogs and podcasts.  Perhaps that will be the next direction I step in?  Whatever is the answer, the opposite of the answer is the current indecision I’m in, and I know I have to get onto a solution without stalling indefinitely longer.

To V or not to V?


Today’s post was more of a note to myself:

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