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 …
Continue reading “Reflections on teaching Ableton Live: part one”
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 …
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 …
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 …
I just completed a batch of new music, which was improvised freely in the studio and then later shaped into structured tracks. https://soundcloud.com/ethanhein/sets/tabla-breakbeat-science 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 …
Continue reading “Composing improvisationally with Ableton Live”
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 …
Maybe, like me, you’re a fan of “Super Rich Kids” by Frank Ocean featuring Earl Sweatshirt. Maybe, like me, you were especially delighted by the part at 1:59, when Frank unexpectedly quotes “Real Love” by Mary J. Blige. A “record label” (really a group of lawyers) called TufAmerica heard that quote too, and now they’re …
Continue reading “TufAmerica suing Frank Ocean is ridiculous”
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 …
Another thought-provoking Quora question: Are there any hereditary units in music? The question details give some context: In his blog post “The Music Genome Project is no such thing,” David Morrison makes an edifying distinction between a genotype and a phenotype. He also makes the bold statement “there are no hereditary units in music.” Is …
Can the computer be an improvisation partner? Can it generate musical ideas of its own in real time that aren’t the product of random number generators or nonsensical Markov chains? In Joel Chadabe‘s “Settings For Spirituals,” he uses pitch-tracking to perform various effects on a recording of a singer: pitch shifting, chorus, reverb. The result …
