Thinking in Sound: Appreciating Music in the Moment with Bryan Hinkley

Bryan is a dynamic music professional with a diverse background in the music industry, spanning various roles and experiences. He has extensive touring experience as a guitarist and stage manager, having traveled to numerous countries with bands such as Tree, Gang Green, Clutch, and 311.

In addition to his live performance background, Bryan’s music is featured in various media, including advertising, network TV, and films. His compositions have been used in notable placements such as Cheerios, Dunkin, MTV's Road Rules, and FX’s The Mayans.

At Gratitude Sound, Bryan has built a loyal client base by delivering high-quality music supervision, original music, and licensing services to advertising agencies and production companies. Collaborating with a team of skilled composers, established artists, and up-and-coming talent, Bryan oversees the day-to-day operations of Gratitude Sound. With a commitment to excellence and a passion for music, Bryan and his team at Gratitude Sound continue to provide exceptional services to their valued clients.

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?

Bryan> I envision the process, do a mental walkthrough, and create a project scope statement, if needed. It's not always complex, but it's rarely a template scenario. Subconsciously, I’ll revisit previous jobs that might have had a similar direction. If we need to provide creative direction, I want to understand how the spot will involve the music in the message. I think about what would complement the visuals and then consider which composers from our team would be best suited to bring that to life.

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?

Bryan> After a call with the agency's creative team, my partner and I discuss the project and write up a brief. We all tend to process things in relation to our previous experience, so it’s helpful to have another musician on the call. Once we agree on the overall direction, we write a brief and discuss it with the other composers. I believe in providing direction that gives people the tools they need for success while allowing for some freedom of interpretation and creative expression. I’m open to any ideas that can help foster creativity. I try to consider the flip side to find things we wouldn't have considered otherwise.

We recently finished a project with Allen and Gerritsen for their client, Meet Boston. We worked closely with the creative team, the director, and the production team, to shape the direction of the spot. It was enjoyable and effective to be immersed in the whole creative process. We were involved in casting a Jazz trio, a live hip-hop band (STL GLD), and a composer.

We created an original track based on one of STL GLD’s songs, and then transitioned into the original track for a live performance shot. It was an incredibly smooth and rewarding process, and I feel the result is a testament to the power of collaboration. I also made a cameo appearance as the guitarist in the commercial.

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

Bryan> I enjoy compensating the musicians for their work. I understand how gratifying it can be as a musician, and I feel good when I can provide that to another artist. Validation comes when a brand associates with a piece of music. Artists tend to be their worst critics; acknowledgment and appreciation can go a long way.

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

Bryan> I see brands using music to build a dedicated fanbase and cultivate brand ambassadors rather than just selling products. Famous artists are contributing to commercials as themselves rather than just as music creators. If a brand can utilise music effectively, there's inherent value there. Music has always been a massive part of effective advertising and will continue to be. As we continue learning more about the brain and how it's affected by music and sound, there are new and more opportunities to use music and sound in advertising. Studies show the influence that music can have. For instance, music can direct people toward a particular flavour of food, change how food tastes, and influence what people choose to eat and spend. (Peng-Li, D., Byrne, D.V., Chan, R.C.K., & Wang, Q.J., 2020).

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

Bryan> I like Allen Toussaint because he played a big part in developing the sound of New Orleans music, which has been an influence on the sound of modern music. Music and sound are in a constant state of expansion, and I am inspired by the idea of individual cities and their unique sounds. While touring with bands, I started understanding how a city's sound, vibe, style, and cuisine are all interrelated. I think it's similar to how cities develop accents. There are some external influences and commonalities, but somehow they develop something unique. A few years ago, I started making a documentary on the different sounds and instruments of the various Caribbean Islands, but it's been on hold for a while. It might be time to put that one back on the stove.

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?

Bryan> Not really. I'm always impressed when clients are willing to take chances and do something different. It's a gamble but can be extremely impactful if it works.

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?

Bryan> Listening to music as I do admin work can be a form of multitasking, but I have grown to appreciate silence. I guess the quality of the listening experience and the context that audiences listen to music/sound in has changed over the years.

LBB> 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?

Bryan> Regarding the mix, I make sure everything is present and sounds good through laptops and phones, as well as on the studio monitors. Ultimately, it's up to the agency creatives to decide what role the music will play, and then we try to serve that role to the best of our ability.

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

Bryan> I like to have some quiet time in the morning. I have about a thirty-minute commute to and from our office/studio, and my favorite place for listening to music is in the car. I either listen to the music we are working on or some new music I have wanted to dive into. At work, we need to “actively listen” to whatever we are working on or the artists and bands we represent. Sometimes, on the way home, I'll just throw on some old favorites. When I’m listening for fun, I want to hear it and not think about it. I also go to shows and check out the opening acts, when I have time.

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…)?

Bryan> I grew up collecting records, and I've gotten rid of a lot of them. I still have some old 7-inches and keep all the stuff that's out of print or not on Spotify. I like listening to old music on records, but when I buy something at a record store, it's partly to support them. Spotify and the like are amazing, but I miss the old days of active listening.

Regarding production, I've gotten more into creating my own sounds. It's very easy to manipulate anything into a unique sound, and why not make a bass sound out of my dog's bark? I use the voice memos app a lot. The whole process of music production is turning inside out, and new technology can be used creatively.

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?

Bryan> I don't mean to sound corny, but I find music in almost everything. I have been enjoying the outdoors a lot lately. My family has a cabin in the Catskill Mountains, and sometimes the sound of nature is the best music around. Last week, I went to the MFA in Boston to see a Hokusai exhibit, and I noticed some of his works that were inspired by Chinese poetry. Everything is interconnected and, in a way, everything I do and see relates to music.

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?

Bryan> I traveled quite a bit when I was playing in bands. Europe, the UK, Scandinavia, Japan, Australia, and every state in the US (except Alaska). Part of traveling with a band is that you're kinda like the guest of honour everywhere you go. It was an absolute pleasure to share that time with close friends and be invited to eat in people's homes, share their culture, and learn about the cities and countries worldwide. It's an experience you can’t buy. Traveling to perform in Moscow with the band Clutch was one of my more exotic trips. I vividly remember visiting St. Basil's Cathedral on Easter Sunday in the Red Square. It was a beautiful experience. The most memorable part was when we stepped out of the church and back into the day, seeing the snowfall across the Red Square. I’ll never forget that scene.

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?

Bryan> I love discovering new music and learning about older music that I hadn't appreciated before. In my teens, I identified more with the music I listened to. I was proud of my eclectic taste. Now, I appreciate music in the moment and don’t attach myself to it as much. I’ve become less enamored with the mystique of it all. I will always love music, but the smoke and mirrors side is less appealing.