Kenny McCabe

Published on Sep 19, 2014

“Technology and art have always had a tumultuous relationship at best. Advancements in technology have often been greeted by the artistic community by a split response: Some embrace the new technology and experiment with it, reaching out for new forms of expression that were impossible before; others shun the advances, dismissing them and those that use them as poor synthetic substitutions for “real” artistic struggle and creativity.
Today, a great deal of this controversy centers around the use of computers in both the visual and audio arts. Sampling, digital replication, and plagiarism are all issues debated regularly. However, in 1963, the topic of debate was overdubbing, a practice that we regularly take for granted today. And at the center of the debate about this “new” technology was Bill Evans.

Universally considered as one of the top jazz pianists in history today, in 1963 Bill Evans was yet to experience huge commercial success. Drugs, non-focused career management, and bad luck had all conspired to place Bill Evans on tenuous ground, career wise, in 1963. An idea, however, the an album of Bill Evans playing with Bill Evans was hatched, and Evans was game. The rest, as they say, is history….or rather the album Conversations With Myself. Conversations With Myself was a major undertaking, and perhaps, an even greater risk. Overdubbing was sneered at by most jazz people, looked at as “gimmicky” and “synthetic”. But Evans, one of the most lyrical musicians the jazz world has ever known, was intrigued with taking the “conversational” approach his trio had been practicing to the next logical level. If three musicians could practice and play together long enough to be able to carry on musical conversations during a song, then wouldn’t the musical ideas expressed and explored by multiple tracks of the same musician be even closer to an “idealized” perfection? In 1963, the answer was unclear. In 1997 though, the answer is clear, and Conversations With Myself ‘s inclusion in Verve Master Edition set exemplifies the positive response.

Garnering a 5 star review from Downbeat in 1963, and a Grammy, Conversations With Myself was an instant classic for the jazz community. Evans work on the ten tunes included here is truly inspired and amazing to behold. In each song, it is as if three distinctive “sides” or “personalities” of Bill Evans are playing together…each keenly aware of what the others are doing, and perhaps more importantly, will do. Evans’ amazing musical comprehension is given center stage while running through classic jazz sides like “‘Round Midnight,” “Stella By Starlight” and “Just You, Just Me.” “Blue Monk” showcases a muscularity to Evans’ playing that he rarely displayed, while the “Love Theme From Spartacus” showcases Evans’ signature use of space, time and inference.

Overall, this album is rather unique for Evans. Known as one of jazz’s “prettiest” pianists, the extensive use of overdubbing here adds so much substance to these tracks that it is somewhat difficult for the uninitiated to keep up with everything that is going on. For the fan of Evans though, this glimpse of the artist at a heightened level of expression is very rewarding indeed. However, for the casual fan, I would not suggest this disc. The musical vocabulary is complex enough that the simple beauty of the songs, and Evans playing, is at times lost. Better to start with some of Evans’ Riverside albums, or any of Verve’s trio albums first, allowing the listener to “build up” a sense of Evans and his ideas…then come back to this album. And prepare to be impressed.

Artistically important, but not the most accessible – 3 1/2 Stars (Out of 5)

Track Listing:

‘Round Midnight; How About You?; Spartacus Love Theme; Blue Monk; Stella By Starlight; Hey, There; N.Y.C.’s No Lark; Just You, Just Me; Bemsha Swing; A Sleepin’ Bee.


Bill Evans – Piano.

Record Label: Verve Music Group

Style: Straight-ahead/Mainstream”

Creating A Melody

Tom Sabin


Leonard from Kosmic Sound takes you through Roland’s new Aira TB3 Bass synthesiser.


Garageband for Beginners

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How to Produce Music 101: Form and Arrangement.
The basic structure of a song is incredibly important. Lets break down a typical pop song.

Pro Tools 11

October 20, 2014


Berklee Online

Learn more about Berklee Online’s SONAR online courses:

In this online music production clinic, learn how to create, edit, master, and more using Cakewalk’s SONAR X3 with Craig Anderton, a renowned music technologist and producer, and Chief Magic Officer for Gibson Brands.

Berklee Online

Learn more about Loudon’s Berklee Online courses:
– Composing and Producing Electronic Music 1:
– Composing and Producing Electronic Music 2​:

In this online clinic, Berklee Assistant Professor and online course author/instructor Loudon Stearns takes an in-depth look at the craft of commercial composition, mixing, and production with iZotope Product Specialist, freelance composer, and Berklee alum Brandon Carroll.

Media production for TV, radio, and film is driven by creative briefs accompanied by tight deadlines. Brandon uses iZotope’s Alloy 2, Stutter Edit, and Ozone 5 in Logic Pro X to demonstrate meeting a real-world creative brief, using a variety of mixing tips, compositional techniques, and mastering know-how. Learn how to quickly make a mix pop and stand out among a sea of competing demos with these essential tricks.

To follow along, download free 10-day trials of Alloy 2, Stutter Edit, and Ozone 5 here:
Alloy 2:…
Stutter Edit:…
Ozone 5:…

AniMusic – Part 01

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Pipe Dreams

Future Retro

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This is rather nifty. It’s an animation done to some music, by a company called Animusic ( The song for this one isn’t as cheesy as most of the other videos they’ve done (though it’s still a little cheesy).

Silber Studios

Join us for an inspiring interview with Mark Isham. His music and movie soundtracks are featured in films such as: A River Runs Through It, Crash, and to Reservation Road. His gift for creating unforgettable melodies has earned Isham many awards including a Grammy, an Emmy, and a Clio.


In this clip from – Jeff Rona, an electronic music specialist and notable film composer, assesses the role of technology in a film composers work and the extent to which sequencers and computers are the modern film composers instrument.

Musink Software

A detailed explanation of how to write drum music using Musink music composition / notation software. More advanced features exist which are not covered here.
Musink software can be downloaded for FREE from

*Creating a new project with one drum stave, two voices
*Setting staves as drum staves manually
*Adding notes using guides
*Dragging and moving notes
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*Playing your work back
*Publishing you work to PDF, including setting the page layout (template), and adding in titles and composer information
*Writing multiple sections for exercise books etc




Search Andrew for FREE lesson Handouts.
This Video: July 06, 2012 | Search Videos by Title/Date.

Andrew Wasson of Creative Guitar Studio answers a viewers question…

Q: I’m 17 years old, and no matter what I write, it’s too simple and lacks depth. I wanted to know if there is a way to give sections a significance throughout the song, making the song unique in it’s own way. I’d really appreciate if you’d be able to help me, my frustration is at a certain point where I’m starting to lose confidence in my composing skills.
Michael – Berlin, Germany

A: As musicians we tend to think of our style of art as a language and just like any language, without structure, without clear intonation and meter, the communication of our musical ideas can sometimes suffer. Because music is both self-expression and communication, our listener should be able understand the musical flow of each section of our songs. So, what is a song section? Examples of this are; a verse, a chorus, the bridge, perhaps an intro. and usually some type of ending. Some songs have lyrics, others are instrumental. But, one thing is for sure, each part must be understood and accepted by both the musician and the audience. I’m sure you’ve heard this before, but songs that tell a story and have a catchy hook, will tend to connect extremely well with an audience. To create good structure we need a song writing road map. Unfortunately, as composers each of us needs to build our own song writing road map, but I can get you started with a few significant tips on this topic, watch the video to learn more!


ANDREW WASSON – Personal Website:
(weekly postings – w/FREE Guitar Handouts)

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Check out my new pro audio blog:

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A heart-warming interview between two Co-creative Brothers discussing their shared intention and purpose for humanity to re-unite in Love and Oneness. Marco Missinato shares the manifestation of a dream through high resonance music and George Kavassilas shares his perspectives based on extraordinary life experiences as an author, speaker and radio show host.

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