jueves, 21 de julio de 2016

DIRTYBIRD Campout 2016 at Oak Canyon Park in Silverado, CA


DIRTYBIRD is gearing up to assemble their All-Star Camp Counselors to guide loyal campers for three days of campfire tales, lakeside s’mores, late night dance-offs, and over 50 fun activities at Oak Canyon Park in Silverado, CA Oct 7-9.

DIRTYBIRD

DIRTYBIRD is gearing up to assemble their All-Star Camp Counselors of your of your favorite DIRTYBIRD DJs and friends to guide loyal campers for three days of house and techno beats, campfire tales, late night dance-offs, and over 50 fun activities at Oak Canyon Park in Silverado, CA Oct 7-9.

Get an early start and secure your spot to experience a smorgasbord of your favorite camp games and activities hosted by Campout Counselors throughout the three-day festival. Whether you are hamming it up at the talent show with Claude VonStroke, sack racing with Justin Martin, learning archery with J.Phlip or walking the runway in the Summer Camp Fashion show with the whole troop, there will be no shortage of around the clock entertainment for every loyal camper looking to earn an official merit badge.

Counselor Claude VonStroke on DIRTYBIRD Campout 2016

Click here to view the embedded video.

This video lays out Claude VonStroke’s vision for creating an escape for music fans and a lighthearted adventure complete with sun-soaked slip-n-slides, mud-drenched tug-o-war, and booty shaking beats for three days straight. Check out last years activities where campers are throwing water balloons with J.Phlip, shooting arrows with Justin Martin, eating BBQ with Grill$on, fishing with Ardalan, and breaking it down at The Birdhouse stage to the soundtrack of electronic music’s most acclaimed artists.

DIRTYBIRD Soundtrack

Camp DIRTYBIRD unveils the musical magic that will soundtrack this year’s DIRTYBIRD Campout. Campout’s lineup embodies the free-wheeling dancefloor spirit of the DIRTYBIRD label, complete with the wry curveballs that have kept the label on the cutting edge of electronic music for over a decade.

A headlining set from the unpredictably wild yet always hilarious Reggie Watts, an elusive live performance from Paranoid London, the classic house of Jesse Rose, rising talent Sage Armstrong, the iconic SF DJ Galen, Machinedrum’s ghetto house, the simply badass Blondetron, and that’s just getting started. We can’t forget the talents of the ever expanding DIRTYBIRD family that includes Catz n Dogz, Christian Martin, Worthy, J.Phlip, Kill Frenzy, Shiba San, Walker & Royce and more.

Whether it’s catching the sunrise at the late night after-hours or the glow of the setting sun on the mainstage, DIRTYBIRD has again delivered an all-star crew for their campers. Simply put, it’s like the world’s best DJs packed up, headed to Camp, and invited you.

Phase 1 Lineup (Alphabetical)

Barclay Crenshaw
Billy Kenny
Blondtron (LIVE)
Bruno Furlan
Catz n Dogz
Christian Martin
Ciszak
Doorly
Galen
German Brigante
J.Phlip
Jesse Rose
Kill Frenzy
Machinedrum
Mad Zach
Marc Houle (LIVE)
Maximono
Monty Luke
Paranoid London (LIVE)
Pezzner
Reggie Watts
Sacha Robotti
Sage Armstrong
Shiba San
Walker & Royce
Worthy

Tickets Now Available

Visit the DIRTYBIRD Campout website for additional info.

 

Six Reasons to Experience DIRTYBIRD Campout

As much as the magic of Campout’s musical offerings might bewitch, it wouldn’t be Camp without games and activities. Who can forget the feel of the rope in your hand as you strain in Tug-O-War against Christian Martin, grubbin’ BBQ with Grillson or your knees in the damp grass after ducking a flying sphere from J.Phlip in Dodge Ball! These are Summer Camp Memories never to be forgotten and this year the Camp Counselors will return to hustle those DIRTYBIRD teams harder than ever in the Boat Races, Kickball, and the now-notorious Talent Show. Keep your eyes peeled for more surprise activities to be announced.

Last year DIRTYBIRD transformed the modern day music festival experience into a summer camp roots, creating a vibe that was truly unparalleled. Here are six reasons why the first Dirtybird Campout was unlike any other festival!

1. Endless Exciting Games and Activities

DIRTYBIRD Campout

DIRTYBIRD Campout wasn’t just another music festival. It was a full-fledged experience filled to the brim with all of your most cherished summer Campout memories. Campers tried their hands at everything from archery to arts and crafts. Mornings kicked off with serene nature walks and blissed out yoga classes. Nights were filled with s’mores around the campfire and an unforgettable talent show. Campers were randomly divided into Purple, Green, and Yellow teams who then spent the weekend battling each other to take home the title of winning team – congratulations to Purple on taking home the win!

2. No Division among Campers, Counselors, and Artists

DIRTYBIRD Campout

We all dream of a festival experience free of division, superiority complexes, and the wishful fantasy of crossing paths with artists whose music has changed our lives. This was our reality at the DIRTYBIRD Campout. The walls dividing Campers from Counselors and Artists were nonexistent as we all participated and co-created in the Campout experience. Playing tug-of-war with Papa Claude and getting down to Eprom’s late night set next to J.Phlip were all but normal occurrences within the Campout. The experience allowed us all to access our common-unity.

3. Unique Never-Before-Seen Sets

DIRTYBIRD Campout

What happens when the music doesn’t stop? Late night and early morning sets that leave your jaw hanging open and your body tingling, that’s what. It’s hard to name just a few of the rare and oh-so-delicious after hours sets that occurred at the Campout as they all produced packed stages and smiles from ear to ear. From Eprom and Nosaj Thing delivering doses of late night experimental bass and emotional future beats to the Martin Brothers greeting the sun with a monumental return to their DnB roots – the Late Night Lodge wasn’t playing around.

4. Eclectic Crowd Coming Together to Camp

DIRTYBIRD Campout

DIRTYBIRD Campout welcomed a diverse crowd of musical lovers. A multitude of crews came together, all in the name of DIRTYBIRD. From dusty Burning Man camping veterans and Do LaB desert hippies to SF Dirtybird super fans and East Coast booty bass lovers – there was no absence of representation among Campers. The exceptional aspect that rose from the sea of diversity was the way in which everyone truly came together. There was no segregation among groups but rather, an experience in which groups transformed into a collective that to camped, learned, and danced among each other – all brought together by the universal language of good pure music.

5. Grooving Rain or Shine

DIRTYBIRD Campout

The Campout saw a plethora of elements throughout the weekend. From the blazing sun and a light breeze to rolling gray clouds and multiple downpours – we soldiered on rain or shine. Whatever the sky decided to give us, we welcomed with open arms. It wasn’t uncommon to spot groups dancing ecstatically in the rain or running through the mud barefoot and giggling. It’s safe to say many of us accessed an inner child we had lost contact with whilst stomping in puddles to our favorite tunes. California needs the rain and we needed the wet wake up call that we’re here to get down and dirty.

6. All the Die Hard DIRTYBIRD’s in One Place

DIRTYBIRD Campout

We all know DIRTYBIRD has accrued a cult-like following over the years. The Campout was the first event where this massive family gathered in one place and boy was it a sight to see. Unique DIRTYBIRD paraphernalia filled the crowds – everything from necklaces and clothing to totems and banners. It seemed that no matter which artist took the stage, if the track was DIRTYBIRD, the crowd knew every word, beat, and booty drop. As the Campout came to a close and the Birds gathered on stage for their final farewells they bestowed upon the Campout the ultimate musical gift – dropping everything from OG DIRTYBIRD tracks to never-before-heard remixes of the recent year’s most bangin’ releases. There was never a better time to be a die hard DIRTYBIRD.

 

About DIRTYBIRD Records

DIRTYBIRD has been dropping basslines and creating smiles on the dance-floor since January 2005. The innovative American house music label has become synonymous with quirky ideas, bass driven funk and a crew of humble characters who like to have fun. The unique sound of the label has helped reshape the landscape of house music and launch the careers of top acts such as Justin Martin, Shiba San, Julio Bashmore, Breach, Eats Everything, Riva Starr and many more. Since 2005, DIRTYBIRD has released over 150 Eps, Albums and Compilations and carved out a niche as a premiere American label and as an international influencer. The label continues to go from strength to strength continually signing new talent while continuing to develop its strong roster of veterans.

Connect with DIRTYBIRD on Facebook | Twitter | SoundCloud | Website

 

Mixing and Mastering Program

Transform rough ideas and basic compositions into dance floor bangers and sonically pleasing commercial quality masters. Learn the well-kept industry secrets of EQ, compression, panning, level balancing, reverb, and special effects.

Mixing and Mastering

About This Program

This program gives you everything you need to refine tracks into a clear commercial quality release, including special mixing and mastering techniques for dubstep, techno, house, trance, downtempo, hip-hop, and the gamut of electronically-produced music.

You will learn to mix and master your tracks using the same plugins that top industry engineers use every day, including plugins by Izotope, Soundtoys, Sonnox, Altiverb, and more.

What’s Included

  • Mixing & Mastering Level 1: Mix
  • Mixing & Mastering Level 2: Modify
  • Mixing & Mastering Level 3: Master

Additional Information

Visit the Mixing and Mastering course page for detailed information on this program here.

If you have questions, please call 877.DUBSPOT or send us a message.

/files/2016/04/Dirtybird-Thumb.jpg

The post DIRTYBIRD Campout 2016 at Oak Canyon Park in Silverado, CA appeared first on Dubspot Blog.

10 consejos para grabar tu sesión de DJ

Unos sencillos consejos para DJs principiantes que se animan a grabar sus primeras sesiones. ¿Hay algún atenuador o limitador funcionando en tu sistema y no lo sabes? ¿En qué formato grabo mi sesión? ¿Queda guardado algún historial de lo que pincho para poder compartirlo? ¿Cómo edito algunas cosas? Te echamos un cable con estas cuestiones.

http://bit.ly/29YHYKX

miércoles, 20 de julio de 2016

Music Theory Tutorial: Tips for Better Chord Progressions


Learn the theory behind writing better chord progressions in this guideline that explores basic concepts and advice to help you make creative decisions when building chord phrases.

Chord Progressions

Students often ask how they can write better chord progressions. This simple guideline aims to help you write better chord progressions by introducing general theory and offering some basic advice to get you started down the right path.

Start with Triad Chords

In music theory, a major or minor triad chord is a chord having a root, a minor third, and a perfect fifth. At first, try keeping things simple by creating a chord progression using triad chords in whatever key you are working in. For example, C major has the notes C, E, G. The C minor chord has the notes C, Eb, G. This limitation will help you quickly make decisions about what kind of chords to use in a progression. The trick is to limit yourself which will help you make decisions easier.

C Major Chord

chord progressions

C Minor Chord

chord progressions

Begin and End with the Same Chord or Key

The key identifies the tonic note or chord and is described as a group of notes in which a scale is based on. A scale is an ordered set of notes typically used in a key. Often, popular music of the 20th century will begin and end in the same key because the notes and chords work together to create a sense of completeness when the tonic note or chord returns to resolve the progression. Using other notes and chords outside the key you’re working in creates varying degrees of tension that may sound incomplete or awkward. Resolving progressions using the same chord or key you started with will likely sound more pleasing and will transition better when looping chord progressions. However, this rule is not set in stone so feel free to experiment.

Chord Progression

Move Freely Among Diatonic Chords

Every major and minor scale has seven individual chords called diatonic triads. Diatonic chords are the chords that are derived from only the notes of a key. Each key contains seven different notes. You can think of diatonic chords as a family of chords that are all related by the notes of a key. In addition, they all harmonically work together like one big happy family.

chord progressions

Let’s explore this further using the key of A minor as an example. A natural A minor scale has the notes A, B, C, D, E, F, G. The tonic note is the root note of the scale which is A. Now that we know the key and all the notes in the scale, we can begin building the seven corresponding diatonic chords. Below are all seven diatonic triads in the key of A minor:

  • Am – A, C, E
  • Bdim – B, D, F
  • C – C, E, G
  • Dm – D, F, A
  • Em – E, G, B
  • F – F, A, C
  • G – G, B, D

Tip: You can move freely around diatonic chords in your progressions. They are harmonically compatible. You just have to find the progression that works best for the track.

Using Non-Diatonic Chords To Spice Up Your Progressions

Let’s make things interesting and break the rules a bit by using a chord outside of the diatonic triads. Is that allowed? Yes. Will it sound good? Well, that’s up to you. There is a another category of chords called non-diatonic chords. These are major or minor chords that do not have notes belonging to the specific scale you are working in. Simply put, you can start from a diatonic major chord and move to any other major chord to add some dissonant variety. Just because a note isn’t in a part of a specific scale doesn’t mean that you can’t play it. Many famous jazz solos are great examples. Improvisers frequently relied on outside harmonies to add color to their solos. However, this technique works best when used seldom. In addition, it’s important to end the series of chords on one of the diatonic chords so that the chord progression resolves smoothly. For example, if you start with diatonic major you could move to any other major chord. Any major chord could potentially sound good. The trick is to end the series of major chords on one of the three a diatonic major chords. The same goes for minor chords. Make sure to end on one of three diatonic minor chords. Below is an example of an A minor chord progression with non-diatonic chords.

A Min | F Maj | D Min | Bb Min (Non-Diatonic) | Eb Min (Non-Diatonic) | D Min (Diatonic) 

chord progressions

Cadence Chords

We know that chord progressions resolve best when the last chord is the same as the first chord, but what about the second to last chord? This chord is very important because it helps the music lead into the last chord and signify the end of the progression is coming. This is called a cadence. What’s the difference between a progression and a cadence? Well, progressions happen when one chord changes to another chord, and cadences are a type of progression used to signify that a section or phrase is coming to an end. Cadencing chords are also essential for releasing musical tension. In music, cadences are divided into four types according to their harmonic progression: authentic, plagal, half, and deceptive.

  • Authentic Cadence: This is the most common and basic type of cadence. An authentic cadence comes in two varieties: a Perfect Authentic Cadence (PAC) and an Imperfect Authentic Cadence (IAC). An authentic cadence is one that moves from a dominant chord to the tonic chord.
  • Plagal Cadence: This is often called an “Amen” cadence because it’s commonly used to end many traditional hymns. It is described as being generally weaker than an authentic cadence. There is less tension and more of a feeling of relaxation.
  • Half Cadence: This cadence is described as giving a feeling of pause and rest. There is also a feeling of incompleteness. The half cadence suggests that more needs to be said, either as a continuation or an answering phrase.
  • Deceptive Cadence: This is considered a weak cadence because of the hanging or suspended feel it invokes. The effect of the deceptive cadence can be quite dramatic depending on what chord you actually land on. A tamer deceptive cadence will move to a chord that is still closely related to the tonic. A more dramatic shift will come from moving to a more distantly related chord.

Below is an example of an authentic cadence in C major.

  • Cadence 1 progresses from a D minor to G major chord (IAC).
  • Cadence 2 progresses from a G major to C major chord (PAC).

Cadence 1

chord progressions

Cadence 2

chord progressions

Test Drive the Root Notes of Your Progressions

One way to feel out the vibe of your progressions is by taking the root notes of all of the chords and playing them like a singable melody. If they sound good, then you probably have a great chord progression on your hands. Many people often like to start with this step to build a pattern and then go back and build up the chords.

A Min | E Min | D Min | C Maj | Eb Maj | G Maj | D Min | G Min | D Min | E Min | A Min

Chord Progressions

Conclusion

These basic guidelines are tried-and-true approaches for writing great chord progressions you can you as the main feature in a song or as the underlying force for all of the other melodic tracks. The next step is to learn how to bend them and discover new possibilities that will help define your own sound – that’s the fun part!

 

EDU Summer Sessions

Music Foundations Program

Unravel electronic music’s origins, build your chops, learn musical language and theory, and make and play music the way you want. Students will develop a deeper understanding of the roots and lineage of a variety of electronic and dance music genres, strengthen their keyboard skills, and learn valuable music theory, deepening their creative practice and facilitating effective collaborations with musical partners.

Click here to view the embedded video.

About This Program

The best producers, DJs, and musicians in the world strive to be well-rounded. So should you. In Dubspot’s Music Foundations Program, you’ll explore three major aspects of music: rhythmic theory, melodic theory, and critical listening.

Most pioneering early electronic musicians had years of conservatory training in theory and performance but had access to very limited technologies. In today’s musical world, it’s the opposite: we have a powerful and versatile array of electronic music making tools at our fingertips, but often fall short in our theoretical understanding of how electronic music works.

Our Music Foundations program is designed to fill this gap and provide training in fundamental skills and concepts with the electronic musician, DJ, and producer in mind. In this course, you’ll build your chops and learn the basics of musical language and theory so that you can make and play the music you want. You will also develop a deeper understanding of the roots and lineage of a variety of electronic and dance music genres, and explore compositional techniques and song structure. The weekly homework lessons for all three courses have been designed using Ableton Live, and along the way you’ll also learn the basics of Ableton and how to use it as a powerful tool to improve your musicianship in a variety of ways.

What’s Included

  • Music Foundations Level 1: Pads & Rhythmic Theory
  • Music Foundations Level 2: Keys & Melodic Theory
  • Music Foundations Level 3: Critical Listening

Additional Information

Visit the Music Foundations course page for detailed information on this program here.

If you have questions, please call 877.DUBSPOT or send us a message.

/files/2016/07/Better-Chord-Progressions-Thumb.jpg

The post Music Theory Tutorial: Tips for Better Chord Progressions appeared first on Dubspot Blog.

martes, 19 de julio de 2016

lunes, 18 de julio de 2016

Dubspot Interview: Mike Monday + Production Advice and Tips


Famed producer and music trainer Mike Monday sits down with Dubspot’s Michael Walsh to discuss his workflow approach, productivity, and passion of coaching creative people on how to succeed.

As a DJ I’ve known of Mike Monday‘s work for years. A few of his jams haven’t left my record box for a decade now, so I’m definitely a fan. I have also recently become more intimate with Mike’s inspirational work by way of his blog – a place where he offers motivational advice and creative tips for musicians. If you follow our blog, you may have come across his words of wisdom in some other creative advice articles such as 10 Tips to Fight Writer’s Block and Increase Studio Productivity. To put it mildly, we are fans of his advice! This excerpt from his blog will give you an idea of what we mean:

“How to Turn Your Inner Critic into Your Greatest Asset: Your inner critic is your most reliable guide of what not to do. So when that voice in your head says you’ve not got the right tools, use even less. When it thinks you’ve gone too far, go further. And when it tells you it’s not good enough, finish it anyway. Go wherever you feel the most resistance because this is where the magic happens.” – Mike Monday

Mike Monday’s productions continue to be in high rotation by pivotal figures in the industry such as Claude VonStroke, M.A.N.D.Y. Jesse Rose, and Tiefschwarzas to name a few. Although now he focuses more on training musicians he still produces music, and has even scored a film called La Bendición. His embark on a mission to help musicians and music producers at all levels of skill, success, and experience to finish more music in less time with better results has led him to share powerful advice and develop training courses available through his blog. He is also a Neuro-Linguistic Programming coach (NLP) which is the study of human excellence that aim’s to enhance your performance, learning, and development.

 

 

After reading his blog and corresponding for a few months, I caught up with Mike to discuss things he’s written about such as creative workflow, how to finish projects, and how to approach creativity for prolific results. Mike was also kind enough to provide a FREE eBook he’s written called “30 Things Every Music Producer Should Know.”

[contact-form-7]

 

Mike Monday Interview

Mike Monday

I was reading on your blog that you’ve produced 250 singles. That’s a lot of singles.

It’s gotta be more than that, including remixes and releases under various guises. I think it’s getting up to about 300 or 400 tracks.

When did you start releasing those tracks and how long has it been?

I started writing my first track in 1994. I started working with Andrew Kato from Groove Armada. We lived in the same flat together in South London because we went to the same university together. I essentially started what I was doing because of what he was doing. It wasn’t really my dream, which was the ironic thing. So that was why I started immediately after university, and then I just carried on doing it under various guises for various people.

Has it been an ebb and flow where sometimes you’ve been very prolific and sometimes you don’t do something for a while or is there a steady schedule for your music work?

Usually a steady schedule. But over the last couple years, I’ve started to write and release a lot less. I did that ten track in ten weeks project and done a couple of remixes here and there. I also did something for ‘Get Physical’ and for Tim Sheridan’s label ‘Very Very Wrong Indeed.’ Now I’m working on some music for an independent film out of LA. Although, I’ve been doing a lot less recently apart from the last year and a half or so. It’s probably followed a fairly steady schedule; the only difference has been an ebb and flow in whether I’m feeling it or not.

Having said that about your work schedule, what advice would you give up and coming producers or people who are poking away at trying to produce music?

Get something out. That would be my number one piece of advice. It doesn’t matter what it is – just get something out. Just the other day I was on Beatport looking at my profile, and there is this re-release of an old remix I did ages ago, and I’m absolutely embarrassed that it’s been re-released. Gah! But you know what, it doesn’t matter. Until you actually put something out, you’ve not done anything.

What track was that?

It’s a remix of an old Beat Foundation tune called “Save Me.” I was in Beat Foundation with Andy Kato, and that was our thing. It was on what I think was on the first ever DJ compilations with Sasha, Oakenfold, Carl Cox, and Pete Tong. Sasha used “Save Me” on his mix. I listen to it now and go “oh God, why did they re-release it?” Because to me, it’s not aged that well. But at the end of the day, my advice to other people is to get it finished, get it out, and move on.

Click here to view the embedded video.

It’s common that artists judge one another and strive for play from other DJs. I’ve heard the advice that “you’re only as good as your last record.” Would you say that is true?

I think people are gonna think what they think no matter what you do, and that’s great. People are gonna like what they like, and they’re probably gonna like things you think they don’t like, and they’re not gonna like the things you think they’re gonna love. The bottom line is,  you’re only as good as your last record to yourself. If you know that what you did is great, it doesn’t really matter. You gotta trust yourself, and if you get it wrong, it’s learning.

I was reading your eBook this morning, and you said something interesting I wanted to ask about. You mention that when people who say they don’t listen to other people’s opinions or say that they just make music for themselves that this is sort of a fallacy, which nobody really makes music for themselves.

Some people do it because they love to do it and for no other reason, but it’s impossible to do it just for yourself. No one can be completely internal and not influenced by the world around them; that’s just ridiculous.

Another part of the eBook that was poignant and interesting was when you say “We don’t need another Richie Hawtin. We don’t need another Aphex Twin. Be you.” Is it a common thing that people don’t have confidence in their original material?

Absolutely. A lot of people I talk to that want to be more original. My first question is, “What’s stopping you?” What’s stopping people is the things they don’t focus on like their values and their beliefs about themselves. By breaking down those beliefs, they can get a helluva lot further than just trying to learn more or buy more stuff. I’m a firm believer that anyone who’s ever taken a Dubspot course or reads the Dubspot blog regularly already has the techniques they need to make the greatest music that this planet has ever seen. I’m absolutely sure of that.

Today the internet is our primary tool for distributing music, which also brings a lot of chatter in comments and forums. Whether on Facebook or SoundCloud, we are sharing our art and opinions with one another. Would you say these discussions people are having help or inhibit the musician with regards to creativity?

Whether it’s helpful or unhelpful very much depends on the person who is writing the music. I think anyone that tries not to be influenced is still influenced by that stuff. All that’s ever said to you, and all you’ve ever experienced will influence, in some way, what you do.

How do you get to a point where you’ve built a barrier for your own creativity but still being open to others opinions?

This is my strategy: I keep my creative time to a few separate hours from the time I’m online. If that wasn’t possible, I’d probably go for a bike ride or meditate for fifteen minutes and completely unwind before starting on music again. I wouldn’t go straight from one thing to another.

“Bhalobashi” was a staple of M.A.N.D.Y. sets who included it on their Fabric mix and was described by IDJ as ʻone of the top 100 essential dance tracks of the last 10 years.’

Click here to view the embedded video.

As a musician have you had the experience of being influenced by what people say about your work?

Oh, absolutely. There are different kinds of people. There are some people who are less influenced by what goes on around them, and they don’t naturally pay so much attention. They are influenced, but less. They are more internal. They know when they’ve done something good, and they don’t need someone else to tell them. Other people are very external. I’m very external. There are benefits to both. I’m not saying people are totally external or totally internal; I think there are different levels. To a certain extent, I would say the urge to perform has to come from some external urge for validation. In terms of writing music on their own, there are some people who hate to perform. I would think that they are very internal. They just do it, and they know that it’s within themselves whether it’s good or not.

I want to talk about how you came from a place of making 250 plus tracks/releases to the place where it seems like over the past year or so you’ve gotten very interested in writing, teaching, and coaching. What was your motivation to start teaching and how did you get involved with the neural/linguistic programming?

My motivation originally started with creating a website to start promoting my music myself.

So it was a promotional tool first?

Yes, Initially. Then I just found that everything was ‘me, me, me, me’ and started to feel it was very focused inward on myself, so I decided to try to start to help other people do what I’ve been doing for years. I figured I probably know quite a lot about this stuff given I’ve been doing it for over sixteen years, so I started writing articles about the stresses and struggles that I’d been through. I found the reaction and the fulfillment I got from that was just enormous. I also think that if all this social media happened earlier in my career, I would have probably done the same thing. What I’m doing now is in much more in alignment with who I am.

Between July and September 2010 I wrote and released one track a week for ten weeks. The project was called “10 Tracks 10 Weeks.” I also wrote blog posts as I completed each track as I went along describing my experiences with the process.

 

 

How did the coaching come about?

It’s funny actually. It’s one of those things I didn’t choose to find; it’s almost like it found me. I’ve had a number of people respond to the site about the stuff I had written before I discovered NLP. Someone said “I could tell you were into NLP” and I was like, I wrote that stuff before I knew about it. I discovered NLP by doing this coaching seminar because they were also offering an NLP practitioner course.

What is NLP?

Neuro-Linguistic Programming. The neuro refers to the mind and the body. The Linguistic part refers to language, obviously, but that is not just the spoken word it is also the way that we express ourselves and also our body language, which some people think is actually more expressive than the words that come out. There is some psychology, some cybernetics, some systems theory, and some anthropology. Basically a conglomeration of different subjects on how different people do things.

As a coach, what would you suggest to students who says “I’m stuck?”

Well, it really depends on the reason they’re stuck. If they’re stuck, then that means at some point they weren’t stuck. If they know they’re stuck, then they know what stuck is, so therefore what I would do is ask them the difference between when they are stuck and when they are unstuck. I would also ask them very specifically what they were doing when they’re stuck, how they hold themselves. There are 101 different things: what they think about, what they say to themselves, etc. when they are stuck versus when they’re unstuck. Knowing these details helps me compare what the differences are. Then it’s a matter of actually identifying what the strategies are that they use in order to make themselves unstuck.

 

EDU Summer Sessions

Music Foundations Program

Unravel electronic music’s origins, build your chops, learn musical language and theory, and make and play music the way you want. Students will develop a deeper understanding of the roots and lineage of a variety of electronic and dance music genres, strengthen their keyboard skills, and learn valuable music theory, deepening their creative practice and facilitating effective collaborations with musical partners.

Click here to view the embedded video.

About This Program

The best producers, DJs, and musicians in the world strive to be well-rounded. So should you. In Dubspot’s Music Foundations Program, you’ll explore three major aspects of music: rhythmic theory, melodic theory, and critical listening.

Most pioneering early electronic musicians had years of conservatory training in theory and performance but had access to very limited technologies. In today’s musical world, it’s the opposite: we have a powerful and versatile array of electronic music making tools at our fingertips, but often fall short in our theoretical understanding of how electronic music works.

Our Music Foundations program is designed to fill this gap and provide training in fundamental skills and concepts with the electronic musician, DJ, and producer in mind. In this course, you’ll build your chops and learn the basics of musical language and theory so that you can make and play the music you want. You will also develop a deeper understanding of the roots and lineage of a variety of electronic and dance music genres, and explore compositional techniques and song structure. The weekly homework lessons for all three courses have been designed using Ableton Live, and along the way you’ll also learn the basics of Ableton and how to use it as a powerful tool to improve your musicianship in a variety of ways.

What’s Included

  • Music Foundations Level 1: Pads & Rhythmic Theory
  • Music Foundations Level 2: Keys & Melodic Theory
  • Music Foundations Level 3: Critical Listening

Additional Information

Visit the Music Foundations course page for detailed information on this program here.

If you have questions, please call 877.DUBSPOT or send us a message.

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Zylia ZM-1, un multi micrófono "OVNI" capaz de separar instrumentos

¿Puede un solo micrófono y desde una posición fija generar la ilusión de un micro que apunta a cualquier dirección deseada? ¿Puede además hacerlo a posteriori de la grabación? ¿Puede separar varias fuentes sonoras simultáneas? Zylia dice que sí y busca beta testers.

http://bit.ly/29SrRjg

viernes, 15 de julio de 2016

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