Why Creativity is in Steph Trivison’s DNA

Steph Trivison is a songwriter, multi-instrumentalist, and producer from the United States.

Her pop sensibility, instinct for melody, and genre-fluid songwriting have led to success in music licensing. Notably, Steph’s work has been featured by Amazon Prime, The Grammys, ESPN, BBC, the Golden Globes and more.

Often noted for her effortless charisma, Steph landed a role as a musician in a McDonald’s commercial – on a whim. Of her work ethic and ability, collaborator Chris Harris (DJ $crilla, Major XP) shared: "Stephanie is easily one of the most talented and skilled artists that I have had the pleasure of working with. Her creativity, reliability, and adaptability remain unparalleled. Whenever a new opportunity arises, Steph is the first person I reach out to because she always delivers."

Steph sits down with LBB to chat about being a “Jill of all trades,” why the best way to predict the future of music is to create it, and her latest work…

LBB> When you’re working on a new brief or project, what’s your typical starting point? How do you break it down, and how do you like to generate your ideas?

Steph> I like to start with a few reference tracks to get a sense of vibe, tempo, instrumentation that may work, and lyrical approach. If the genre lends itself to more organic instrumentation, I’ll typically pick up a guitar and play around until I find something I like. Still, if the track is meant to be electronics-driven, I may program a beat or find some synths I like to get ideas flowing.

LBB> Music and sound are in some ways the most collaborative and interactive forms of creativity - what are your thoughts on this? Do you prefer to work solo or with a gang - and what are some of your most memorable professional collaborations?

Steph> I’m a Jill of all trades and a master of none. Over the years, I’ve built a little home studio with instruments I play well enough to produce complete songs on my own, and I tend to work that way for efficiency's sake.

But collaboration has always been a more rewarding process – the “ah-ha” moment of landing on a cool idea together just feels right. These days, most of my collaboration is remote, which has opened up my network and allowed me to work with so many amazing musicians, including Lee Turner (Darius Rucker), Jamie Woolford (The Stereo, credits with Weezer, The Gin Blossoms), and artist/producer Essence Carson (a 2016 WNBA Champion).

LBB> What’s the most satisfying part of your job and why?

Steph> I love creating something from nothing. It’s in my DNA, I suppose. I’m not really separate from it – it just has always been that way. When I was five, playing in the basement with my dad’s guitars and 4-track, it was clear I was innately drawn to writing and recording. The process of making a song is everything.

LBB> As the advertising industry changes, how do you think the role of music and sound is changing with it?

Steph> While I have some concerns about AI and its eventual ability to do what so many of us do today, the advertising world is only moving further and further into the digital space. Where there’s digital, there’s video. And where there’s video, there’s a need for a soundtrack.

Musicians, as they always have, will need to embrace the new tools in entering our world and continue innovating, pushing culture forward and maintaining relevance and value. The best way to predict the future is to create it.

LBB> Can you talk a little bit about the technological developments in sound design right now?

Steph> I personally love tools like Izotope’s Ozone 10, autonomous EQs, and Logic Pro’s new mastering tools. Years ago, you could specialise in one area. That’s still true to some degree, but to turn projects out on a dime, you need to be very well-rounded in your skill sets. These innovative tools can provide good starting points (and teach you a few things!) when it comes to areas where you have skill gaps.

LBB> How do you see the future of sound design? And is the metaverse a dream opportunity for immersive sound design?

Steph> I could see a future in which wearables become affordable and create personal cinematic experiences. Smart glasses with built-in AR tools and bone-conduction audio that “see” the moment you’re in and play generated audio that enhances that moment. Driving with the top down? Cue a Tom Petty-inspired anthem. Staring pensively out a window? How about a Phoebe Bridgers sound-alike or a Thomas Newman-esque score?

LBB> Who are your musical or audio heroes and why?

Steph> All-time fav is probably Butch Walker – a singer/songwriter/producer who, infinitely more skilled than myself, reminds me that I can do it all.

LBB> When you’re working on something that isn’t directly sound design or music (let's say going through client briefs or answering emails) – are you the sort of person who needs music and noise in the background, or is that completely distracting to you? What are your thoughts on ‘background’ sound and music as you work?

Steph> Too distracting! If I’m listening to music while I work, it has to be ambient. Anything else, and I can’t focus on the task at hand.

LBB> As we age, our ears change physically and our tastes evolve too, and life changes mean we don’t get to engage in our passions in the same intensity as in our youth – how has your relationship with sound and music changed over the years?

Steph> Like so many, I listened to much heavier music in my youth than I do today. I’ll still scratch that itch from time to time, but these days I much prefer songs that create an aesthetic and a feeling to drift into.