A DIY video about DIY recording

For the benefit of Play With Your Music participants and anyone else we end up teaching basic audio production to, MusEDLab intern Robin Chakrabarti and I created this video on recording audio in less-than-ideal environments.

This video is itself quite a DIY production, shot and edited in less than twenty-four hours, with minimal discussion beforehand and zero rehearsal. Continue reading

Killen and Marotta

Participants in Play With Your Music were recently treated to an in-depth interview with two Peter Gabriel collaborators, engineer Kevin Killen and drummer Jerry Marotta. Both are highly accomplished music pros with a staggering breadth of experience between them. You can watch the interview here:

Kevin Killen engineered So and several subsequent Peter Gabriel albums. His other engineering and mixing credits include Suzanne Vega, Gilbert O’Sullivan, Bobby McFerrin, Elvis Costello, Dar Williams, Sophie B. Hawkins, Ricky Martin, Madeleine Peyroux, U2, Allen Toussaint, Duncan Sheik, Bob Dylan, Ennio Morricone, Tori Amos, Rosanne Cash, Shakira, Talking Heads, John Scofield, Anoushka Shankar, Patti Smith, Laurie Anderson, Stevie Nicks, Los Lobos, Kate Bush, Roy Orbison and Bryan Ferry.

Kevin Killen

Jerry Marotta played drums on all of Peter Gabriel’s classic solo albums. He has also performed and recorded with a variety of other artists, including Hall & Oates, the Indigo Girls, Ani DiFranco, Sarah McLachlan, Marshall Crenshaw, Suzanne Vega, John Mayer, Iggy Pop, Tears for Fears, Elvis Costello, Cher, Paul McCartney, Carly Simon, and Ron Sexsmith.

Jerry Marotta

The interview was conducted by NYU professor and Play With Your Music lead designer Alex Ruthmann and UMass Lowell professor Alex Case. Here’s an edited summary. Continue reading

Reflections on teaching Ableton Live, part two

In my first post in this series, I briefly touched on the problem of option paralysis facing all electronic musicians, especially the ones who are just getting started. In this post, I’ll talk more about pedagogical strategies for keeping beginners from being overwhelmed by the infinite possibilities of sampling and synthesis.

Building a pop song structure

This is part of a larger argument why Ableton Live and software like it really needs a pedagogy specifically devoted to it. The folks at Ableton document their software extremely well, but their materials presume familiarity with their own musical culture. Most people aren’t already experimental techno producers. They need to be taught the musical values, conventions and creative approaches that Ableton Live is designed around. They also need some help in selecting raw musical materials. We the music teachers can help, by putting tools like Ableton into musical context, and by curating finitely bounded sets of sounds to work with. Doing so will lower barriers to entry, which means happier users (and better sales for Ableton.) Continue reading

Reflections on teaching Ableton Live: part one

My music-making life has revolved heavily around Ableton Live for the past few years, and now the same thing is happening to my music-teaching life. I’m teaching Live at NYU’s IMPACT program this summer, and am going to find ways to work it into my future classes as well. My larger ambition is to develop an all-around electronic music composition/improvisation/performance curriculum centered around Live.

Ableton in action

While the people at Ableton have done a wonderful job documenting their software, they mostly presume that users know what they want to accomplish, they just don’t know how to get there. But my experience of beginner Ableton users (and newbie producers generally) is that they don’t even know what the possibilities are, what the workflow looks like, or how to get a foothold. My goal is to fill that vacuum, and I’ll be documenting the process extensively here on the blog.

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What is groove?

You hear musicians talk all the time about groove. You might wonder what they mean by that. A lot of musicians couldn’t explain exactly, beyond “the thing that makes music sound good.” The etymology of the term comes from vinyl records. Musicians ride the groove the way a phonograph needle physically rides the groove in the vinyl.

The original groove

But what is groove, exactly? It isn’t just a matter of everyone playing with accurate rhythm. When a classical musician executes a passage flawlessly, you don’t usually talk about their groove. Meanwhile, it’s possible for loosely executed music to have a groove to it. Most of my musician friends talk about groove as a feeling, a vibe, an ineffable emotional quality, and they’re right. But groove is something tangible, too, and even quantifiable.

Using digital audio production software, you can learn to understand the most mystical aspects of music in concrete terms. I’ve written previously about how electronic music quantifies the elusive concept of swing. Music software can similarly help you understand the even more elusive concept of groove. In music software, “groove” means something specific and technical: the degree to which a rhythm deviates from the straight metronomic grid. Continue reading

Remixing Verdi with Ableton Live

Later this week I’m doing a teaching demo for a music technology professor job. The students are classical music types who don’t have a lot of music tech background, and the task is to blow their minds. I’m told that a lot of them are singers working on Verdi’s Requiem. My plan, then, is to walk the class through the process of remixing a section of the Requiem with Ableton Live. This post is basically the script for my lecture.

Verdi remixed

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Announcing the Peter Gabriel edition of Play With Your Music

You may have noticed a lot of writing about Peter Gabriel on the blog lately. This is because I’ve been hard at work with Alex Ruthmann, the NYU MusEDLab, and the crack team at Peer To Peer University on a brand new online class that uses some of Peter’s eighties classics to teach audio production. We’re delighted to announce that the class is finished and ready to launch.

Play With Your Music - Peter Gabriel edition

Here’s Alex’s video introduction:

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Participatory music vs presentational music

In this post, I’ll be doing some public-facing note-taking on Music As Social Life: The Politics Of Participation by Thomas Turino. I’m especially interested in chapter two: Participatory and Presentational Performance. We in America tend to place a high value on presentational music created by professionals, and a low value on participatory music made by amateurs. It’s useful to know that there are people in the world who take a different view.

Turino divides music into four big categories:

  1. Participatory music. Everyone present is actively doing something: playing an instrument, singing or chanting, and/or dancing. For example: a bluegrass jam, campfire singing, a hip-hop cypher.
  2. Presentational music. There’s a clear divide between the performers and the audience. Audience members might dance or sing along, but they are not the focus. For example: a classical, rock or jazz concert.
  3. High-fidelity recording. A document of a live performance (or a convincing illusion of such.) For example: a classical or jazz album.
  4. Studio sound art. A recording that was constructed in the studio using techniques other than (or in addition to) people performing in real time. For example: a late Beatles album, or any pop song since 1980.

Turino devotes a lot of his attention to three examples of participatory music cultures:

Aymara ceremony

Shona witch doctor

Contra dancers in New Hampshire

This last group might strike you as the odd one out, but Turino sees more commonalities between the musical experience of American contra dancers and participants in Shona rituals than he does between the contra dancers and audiences at, say, a bluegrass concert.

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Composing improvisationally with Ableton Live

I just completed a batch of new music, which was improvised freely in the studio and then later shaped into structured tracks.

I thought it would be helpful to document the process behind this music, for a couple of reasons. First of all, I expect to be teaching this kind of production a lot more in the future. Second, knowing how the tracks were made might be helpful to you in enjoying them. Third, composing the music during or after recording rather than before has become the dominant pop production method, and I want to help my fellow highbrow musicians to get hip to it. Continue reading

Recording Peter Gabriel’s Security

This post was originally written for the Play With Your Music blog. Also be sure to check out our interview with engineer Kevin Killen and drummer Jerry Marotta.

Peter Gabriel’s songwriting and recording process in the early 1980s was unusual for its technological sophistication, playfulness and reliance on improvisation. While Peter was considered avant-garde back then, now that music technology is a lot cheaper and more accessible, his practices have become the baseline standard for pop, dance and hip-hop.

Peter Gabriel's Security

The South Bank Show’s long 1983 documentary on the making of Peter Gabriel’s fourth solo album Security follows the production of the album from its earliest conception to its release and critical reception. It’s an invaluable record both of Peter’s creative process and the technology behind it.

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