Camera Obscura: Extracting Musicality and Meaning from Objects with Bennett Eiferman

Bennett is a Brooklyn-based drummer and composer. He has been at Antfood for six years and has worked on exciting and far-reaching projects, leading creative teams for major sonic branding campaigns and music/sound composition for advertising, film/TV, and mixed-reality experiences. Excited for the future, inspired by the past and focused on the present, Bennett is a deep thinker who cares passionately about how sound and music fit into our world.

LBB> What is your niche craft obsession? 

Bennett> I'm here to talk about the use of hand percussion as a sound design and composition tool, especially in the context of some of the sonic branding work we’ve been doing over the years. 

LBB> Where/ when/ how did you first come across this thing?

Bennett> Most babies are given noise-making objects from a very early age, so I guess it has been a lifelong journey. I studied drums and percussion throughout my education, but in the past three years of my career, I have become increasingly fond of exploring percussion as a device to inject meaning and narrative into the work.

LBB> Was it an obsession straight awayor something that has evolved over the years?

Bennett> As a drummer, I have a special and ongoing relationship with these instruments. However, this obsession has absolutely evolved over the years. I’ve explored ways to use these instruments as a primary element of a track rather than as an auxiliary voice. Also, over time, I have discovered new ways of playing or approaching the instruments that might give specific meaning to a piece. As an example, for the manga publisher Kodansha, we made a sonic logo that is 90% made from wood claves, which are usually struck together to play a repeating rhythm. In the mnemonic we crafted for Kodansha, there are many layers of processed and pitched claves that build an impression of a magical forest landscape. The claves also are the source of a short melodic gesture at the end.

LBB> What are the most interesting debates or conversations you are having around this obsession?

Bennett> I should clarify that 'hand percussion' is a pretty loose term. Obviously, you can go to a Guitar Centre's drum section and find walls with a bunch of percussion instruments from around the world – think tambourines, woodblocks, and cowbells. These tend to have very specific sounds and quickly convey a genre, region, or culture. I try to extract musicality and meaning from objects that aren’t necessarily built as musical instruments. At some point, you might ask the question, where does hand percussion end and foley begin? I’d argue that the two sides are not mutually exclusive. Furthermore, 'percussion' becomes especially potent when the object being struck or played directly relates to the content the music is paired with. At Antfood, we recently recorded lab equipment at a medical research facility for their sonic identity, and the sounds were recontextualised in their mnemonic for unique attribution.

LBB> How widespread do you think this obsession is with your peers?

Bennett> I think this isn't super niche amongst my music peers, but in a broader craft and production context, it might stand out as interesting! When you walk into any recording studio, you’ll find a collection of obscure percussion instruments. Foley studios are especially crafty at turning everyday objects into 'hand percussion' as sound design tools. The lofty closets in Hollywood’s foley stages are filled with objects that have the potential to unlock audio magic.

LBB> Can you share any examples of work where that obsession really came to the fore and elevated the final production?

Bennett> Antfood recently wrapped a sonic identity engagement with Kenvue, a new parent company for Johnson & Johnson’s wellness brands. I went to the store and bought a bunch of their products, such as Tylenol bottles, Listerine packs and Band-Aids to perform them in a musical context. It turned out great and was a really exciting aspect of the final music package.

LBB> For anyone just getting into your field, what advice would you share to help them get their head around this particular thing?

Bennett> Try to think outside the box, and think simply. If you take the time to really explore the sound of a single object, you can find whole worlds of variety and depth. Also, if you come across a flea market or thrift store, look in the back for anything that might make a great sound.