My newest music student is a gentleman named Rob Precht. As is increasingly the case with people I teach privately, Rob lives many time zones away, and he and I have never met face to face. Instead, we’ve been conducting lessons via a combination of Skype and Splice. It’s the first really practical remote music teaching method I’ve used, and I can’t recommend it highly enough.
Rob came to me via this very blog. He’s a semi-retired lawyer who took some piano lessons as a kid but doesn’t have much other music training or experience. He approached me because he wanted to compose original music, and he thought (correctly) that computer-based production would be the best way to go about it. He had made a few tracks with GarageBand, but quickly switched over to Ableton Live after hearing me rave about it. We decided that the best approach would be to have him just continue to stumble through making original tracks, and I would help him refine and develop them.
Soon after I became a composer, Marc Weidenbaum made me a meta-composer. Which I guess makes him a meta-meta-composer? A hyperproducer? There isn’t a word for what Marc is, aside from “awesome.” The most concise way I can think of to describe what he does: he writes reviews of music that doesn’t exist yet and then gets internet strangers to make it. Each track on this playlist is a reading of my score called “Divergence/Convergence,” and each one is quite different from the next.
Here’s Marc’s version of the narrative behind all this music. In a nutshell: I was asked to write a score for the NYU Laptop Orchestra. They performed it. I got a recording of the performance and remixed it. Marc assigned the members of the Disquiet Junto to “perform” the score solo. I got to have the strange and delightful experience of hearing all of the diverse music that resulted.
Well, it’s official. All of my students are now henceforth required to post all music assignments on SoundCloud. It solves so many problems! No fumbling with thumb drives, no sharing of huge files, no annoyances with incompatible DAWs. No need to mess with audio-hostile Learning Management Systems. Everyone gets to listen to everyone else’s music. And best of all, the kids get into the habit of exposing their creative work to the blunt indifference of the public at large. Students can comment on and fave each others’ tracks, and so can randos on the web. It really takes the “academic” out of academic work.
Recently, WNYC’s great music show Soundcheck held a contest to see who could do the best version of the 100 year old song “Yellow Dog Blues” by WC Handy.
Marc Weidenbaum had the members of the Disquiet Junto enter the contest en masse. I did my track, put it on SoundCloud, and promptly forgot all about it.
A month later, I was surprised and delighted to learn from Marc’s blog that the contest winner was Junto stalwart Westy Reflector.
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.
Here’s Alex’s video introduction:
I participate in Marc Weidenbaum’s Disquiet Junto whenever I have the time and the brain space. Once a week, he sends out an assignment, and you have a few days to produce a new piece of music to fit. Marc asks that you discuss your process in the track descriptions on SoundCloud, and I’m always happy to oblige. But my descriptions are usually terse. This week I thought I’d dive deep and document the whole process from soup to nuts, with screencaps and everything.
Here’s this week’s assignment, which is simpler than usual:
Please answer the following question by making an original recording: “What is the room tone of the Internet?” The length of your recording should be two minutes.
There’s an interview on the Creative Commons blog with Disquiet Junto instigator and Aphex Twin historian Marc Weidenbaum. It’s full of his usual keen insight.
Here are some key quotes. Continue reading
I was looking at a collection of perfectly looped gifs on Buzzfeed and thinking about how they remind me of sample-based electronic music. In both cases, you’re taking a piece of a linear recording and making it cyclical. Do it wrong and it’s extremely irritating. Do it right and it’s mesmerizing. I’ve given a lot of thought to how looping a segment of audio changes its meaning, but am only just starting to think about the visual equivalent.
This week marks the conclusion of the first iteration of Play With Your Music, the music production MOOC I’ve been contributing to this past semester.
Creating and running the MOOC has been a learning experience for everybody involved. It certainly has been for me. I do most of my music teaching one on one, and it’s been weird creating materials for a couple of thousand students I never see at all. (Though I guess that’s sort of what I’m doing on this blog.) My colleagues have been keeping close tabs on the community of participants, but my personal interaction has been limited by the course’s coinciding with crunch time for my thesis. So this post will be less about the students, and more about the teachers.
This is the fourth in a series of posts documenting the development of Play With Your Music, a music production MOOC jointly presented by P2PU, NYU and MIT. See also the first, second and third posts.
After PWYM participants have tried mixing using just levels and panning, the next step is to include audio effects for additional audio manipulation. As a painless introduction, you can load any track from SoundCloud into our own miniature web-based effects unit, #PWYM Live Effects. Then it’s time to open up some dry stems in Soundation. In addition to mixing and panning, you can now do some creative application of Soundation’s effects. These include:
Both low-pass and high-pass filters are available, which block high and low frequencies, respectively. Why would you want to do such a thing? There are practical and expressive reasons. The practical one is to keep sounds from fighting each other in the mix. So, for example, my electric guitar has a very bass-heavy sound. If there’s a bassist on the track along with me, together we’re going to sound like mud. By applying a high-pass filter to my guitar, I can stay out of the bassist’s way and still get across most of the information in my sound. Similarly, I’d want to low-pass the bass for the same reason.