The New Creative Challenges for Modern Composers

Mert Kazak is a composer of 3K1A MUSIC. Starting from playing drums with hundreds of gigs with different bands and artists, he delved into the depths of sound engineering by the college years.

After graduating from the Music department of Bilgi University, he joined 3K1A MUSIC as a sound engineer. A couple of years later, he resumed his career as a composer.

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 or response?

Mert> First and foremost, I’d like to familiarise myself with the client’s vision. What is the purpose of this art? Why is it needed, and what are the obstacles and limitations? 

When those questions are answered, the limitations become obsolete and the creative path begins to clear. 

If I’m approaching a project with a ‘blue sky’ mindset, I think of neither instruments nor seconds. Instead, I think of “openness” and “freshness”. It resembles the working principle of artificial intelligence. 

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?

Mert> I found myself to be a seeker of single purpose. Challenging myself creatively is what rewards me most when it comes to other musicmaking-processes. Of course, there comes a point when I brainstorm with my colleagues. After that, it becomes much easier. Ideas take their final shape, musicians come and play, and everybody enjoys the process.

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

Mert> If someone asks what I do for a living, sometimes one of our jingles can be heard from a distance or from a phone. And I say, “that!”. It has happened several times, and I’m still not bored of it.

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

Mert> Everything is becoming shorter, in accordance with audiences’ shrinking attention spans. When I create new music, I have to think of ways of shortening it while creating it. This creates a new challenge -  a new path of thinking while diving into the train of thought. My task is simply to deliver the message as beautifully as possible. That’s it.

LBB> And when it comes to your particular field, whether sound design or composing, are there any particular ideas or pioneers that you go back to frequently or who really influence your thinking about the work you do?

Mert> I started my off the stage career as a sound engineer. This altered my music creation, as I often think about how world renowned sound engineers like Andrew Scheps or Chris Lord Alge mix music. Is it punchy enough? Are all the frequencies filled? Or does it really need to be filled? Would they take extra steps to make it sound better?

LBB> When you’re working on something that isn’t directly sound design or music (lets 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?

Mert> I have never been able to achieve ‘passive listener’ status. If I am doing something which affects my listening, music becomes my noise. 

I think we don’t value the serenity of silence as much as we used to. In a video game, I came across a saying which changed my perspective about all we hear. “What is the music of life? Silence.” 

LBB> I guess the quality of the listening experience and the context that audiences listen to music/sound in has changed over the years. There’s the switch from analogue to digital and now we seem to be divided between bad-ass surround-sound immersive experiences and on-the-go, low quality sound (often the audio is competing with a million other distractions) - how does that factor into how you approach your work?

Mert> I actually don’t add this parameter to my workflow. If I want to listen to 70’s music, I want it to sound like the 70's - with all its beauties and imperfections. 

If someone from 200 years in the future wants to listen to my music, they will have to listen to the sound of the 2020s as well. I just try to do my music as best as possible with today's technology. I don’t think about the rest. For now.

LBB> On a typical day, what does your ‘listening diet’ look like?

Mert> I am a motorcycle guy, so I can’t change my playlists that easily. I find it distracting and dangerous. So I’m a Spotify algorithm victim! I listen to old mainstream music and it’s oh so hard to find new ones. Jokes aside, I’m just an amateur listener. Creating and consuming are whole different skillsets in my opinion.

LBB> Do you have a collection of music/sounds and what shape does it take (are you a vinyl nerd, do you have hard drives full of random bird sounds, are you a hyper-organised spotify-er…)?

Mert> I wish to be a hyper-organised spotify-er someday. Until then, Motorcycle engine noise is good for me.

LBB> Outside of the music and sound world, what sort of art or topics really excite you and do you ever relate that back to music (e.g. history buffs who love music that can help you travel through time, gamers who love interactive sound design… I mean it really could be anything!!)

Mert> I’m also a tango dancer. Moving with music is one thing. Making a person move with you to the music is much more exciting. I try to balance listening and moving but alas and alack! 

LBB> Let’s talk travel! It’s often cited as one of the most creatively inspiring things you can do - I’d love to know what are the most exciting or inspiring experiences you’ve had when it comes to sound and music on your travels?

Mert> For Beinsports, I travelled to camps of four different football teams. Galatasaray, Fenerbahçe, Beşiktaş, Trabzonspor. I had to record and direct the singing of two football players for each team. It was truly a remarkable experience.

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 with the same intensity as in our youth - how has your relationship with sound and music changed over the years?

Mert> I learned to effectively use my mental energy to get to the core of sound and music. Whether for creating or listening to it. Sometimes the details take us on a different adventure. Going on with it, but not getting lost.