Working with Loops in Ableton Live: Part 2
In the previous issue, we covered slicing audio loops to MIDI. In this issue I would like to cover another way of working with audio loops, using the brand new system for warping audio, making it much easier to time stretch and quantise audio parts to fit your project… Alongside this is a new system of groove-quantising both audio and MIDI clips, giving you enhanced control over the feel of your productions.
Warp Speed
Warp Speed
Dragging ready-made loops into Live is very easy thanks to a real-time browser preview of loops at the correct project tempo. This will allow you to audition loops for your project. Hit the RAW button to hear the loops at their original speed if you prefer. When you drag a readymade loop into an audio track you can click the waveform to see it displayed in Sample View. By default it will have warping enabled, unless you have for some reason disabled this in the Preferences. If the sample isn’t looping, simply drag to select it all, then right-click and select Loop Selection (or press the Loop button in the Sample section).
If Live determines the sample to be a different length that you think it should be, use the left and right markers to select its correct length, then right-click and choose Crop Sample. You can also try moving the playhead to the correct position, going to the Start and End boxes and either pressing the Set buttons or entering numerical values.
Select Mode
Setting the Warp mode is important as it helps you tailor the algorithm to the waveform. This can be controlled from the warp box in the Sample section. This loop contains a bass tone, so warp is set to Tones.
For other kinds of material, try different Warp modes. Beats is good for drums; Texture works better for polyphonic material or pads; Re-Pitch operates by transposing; Complex and Complex Pro modes are for warping material with multiple characteristics such as entire tracks, although it uses more cpu.
Select Mode
Warp Markers
Warp Markers
Warp markers are added by right clicking the Sample editor and selecting Insert Warp Markers. Holding down the (Shift) key while clicking on a ‘ghost’ marker enables you to drag the marker to a new position without affecting the waveform. You can double-click on a ‘real’ marker to temporarily make a ‘ghost’ and move it.
Once a warp marker has been created, holding down the (Shift) while dragging it will move the waveform beneath the marker rather than moving the marker itself.
When warp markers exist in a clip, dragging them will move the segment of audio between that marker and the next in whichever direction you drag it. Using this method enables you to manually alter the tempo and feel of an audio clip.
Timing
Dragging the warp markers in order to tweak or correct the timing of a track is generally quite straight forward. Sometimes you will find yourself needing to quantise an audio part quickly rather than moving individual parts of the waveform around. To do this right-click the Sample editor and choose Quantise Settings. This reveals a window in which you can choose the required resolution and strength of quantisation. Alternatively you can apply your track groove as discussed in the previous issue.
Timing
When Am I Qualified?
The Oxford dictionary defines qualified as; officially recognised as a practitioner of a particular profession or activity.
A qualification is deemed, a course of study that makes someone suitable for a particular job or activity.
Despite these simple terms of reference, how do we know if and when we are actually qualified? The answer is relative and often very subjective. Before we dissect the nuances, let us be very clear that it is grossly naïve to believe or be led to believe that having a qualification denotes being qualified. A formal qualification, especially at a higher education level, is evidence to prospective clients or employers that we have taken a formal course of study and passed the minimum requirements. A discerning professional however will not simply take this as a guarantee of a person’s commitment to the subject matter or in fact that they are relevantly skilled in ways they are prepared to invest their time and money in.
How qualified someone is, is generally determined by the opinion of the person who is considering the individual for employment or professional partnership, based upon the opinion, needs and skills of the prospective employer or client they will decide whether they deem you qualified or not. As mentioned in a previous article in this series, a formal qualification from a reputable provider is valuable evidence but it is no guarantee of employment and a sustainable career. We can only achieve this through our attitude, diligence and skill, and how we are perceived by others and not rely solely on having a qualification.
In this context, it is professionally irresponsible to make statements in covering letters or resumés like ‘I am a qualified producer/engineer/DJ’ because you are in possession of a qualification. The prospective employer or client will decide whether you are qualified based on what they need and what you know and can do and equally what you don’t know and cannot do. Always remember, your attitude is what most employers are looking for. Attributes like intelligence, tenacity, a sense of humour and good manners are very attractive, and a formal qualification is a significant addition. Leave out of your interview what a genius you are on Version Y of X software or turntable. This is not impressive and Version Y will be Version Z shortly anyway.
Another vital component to consider is that we don’t have to have three decades of professional experience and a telephone directory’s worth of qualifications to be deemed qualified. In many instances a truly committed individual who is receptive and a pleasure to interact with may be deemed qualified too. I.e. The candidate is qualified to commence with an entry-level role based on their attitude and willingness to learn and know much more. The quickest way to be shown the exit door is to make out that you are qualified to someone who has far more experience than you. They will be using their own professional experience as their point of reference of what they deem qualified. Let us not forget the difference between being qualified to commence with something versus having achieved mastery of it. Or put another way, the difference between having a qualification in something versus vast experience in it.
Why on earth would we invest our time and money then in studying something if professionals will decide for themselves if we are qualified or not anyway? The principle of tertiary study is not simply to acquire a document (qualification) as evidence that you have endured a course of study, it is the journey of interaction with others and the knowledge we gain that is valuable. Formal study, if delivered by an astute provider who employs truly skilled staff, fast tracks our knowledge and skill in a way that is simply not possible if we work in isolation or rely solely on information accessed from the web. If formal study had no relevance, providers of education would not exist.
Yes, if we have an Internet connection we can quickly access information about anything and download the PDF to help us on our way. We can add to that a YouTube video tutorial and spend
time on forums. There is no doubt that we can learn a large amount in this fashion and do every day, but it will never replace the joy and experience of interaction directly with others who share similar interests and varying levels of experience. This interaction is what happens each day amongst students and staff in a great institution.
What has this got to do with being qualified? It is interaction with many other people (‘qualified’ and ‘unqualified’) that allows us to arrive at our own opinions and workflow based on our exposure to the opinions and workflows of others. Based upon our competencies at any given time throughout our lives and careers, our peers, associates, employers and clients will deem us qualified to perform the work or not. The more we know and can do, the more qualified we are!
As with every aspect of life, trust is our greatest influence when we are deciding to invest our time and money in something or someone. The more experienced someone is in something, the more we trust him or her. Knowledge, skill and credibility all influence our belief that someone is qualified or not, and often we make or need to make this decision within moments of meeting a person for the first time. The golden nugget is being referred to someone based on his or her experience of working or interacting with us. The referral serves as an endorsement that we are qualified! The reason a referral is so valuable is because people don’t wilfully place their credibility on the line and so will only refer someone to us if they are certain that we will deliver.
In conclusion: we are qualified when whomever we are interacting and working with believes we are. As the amount of people endorsing our skills grow, the easier it becomes for us to cement our career and achieve professional credibility.
In the next issue we will discuss the importance of Creativity with Entrepreneurship.
About the author:
David Maclean is a mastering engineer, educator and business executive with two decades of experience in the music industry and tertiary education sector. David is the Director of SAE Institute South Africa and is based at their campus in Cape Town. The Cape Town campus is one of 53 SAE campuses across the globe. David is known as the ‘white crocodile’ because of his unusual portfolio that includes equal-parts business, education and music production. Consequently David understands the attitudes and opinions of the industry professionals within the creative media technologies industries and the educator’s and authorities within Higher Education in South Africa and abroad.
Tricks from the Pro’s 9: Speak Now or Forever
Salutations and greetings BPMings! The amount of effects used on vocals in the past is numerous, and I have written about them before. They include the famous auto-tune effect, reverse reverb, heavy delay, reverb, chorusand so on. Here are a few I haven’t touched on:
The Telephone Effect:
Here’s a simple classic – take an EQ and shelve off at +/- 250 Hz and 2 kHz. Then apply a little bit of distortion. Tweak to taste and put in for effect on the vocals at poignant parts. The image alongside is an example of the EQ filter for it.
Vocal stutters (a.k.a. the Nicki Minaj vocal effect):
This is actually pretty simple and just requires you to cut out a syllable of vocal on the grid (a 1/16, 1/8 or ¼ note) and copy the sample a few beats back in time. You can use your imagination and style the timing to whatever suits you. It sometimes helps if the vocalist records the stutter, and its then chopped up and put in time precisely. Alongside is an illustration and the highlighted bit is the syllable I copied.
Vocal doubler:
Waves makes this gizmo that has been used countless times on vocals for hit records. You know that shimmer effect vocals sometimes have, but it’s not really a second voice doing a double take? Then it’s a doubler. If you want the vocal to sound bigger but not overly effected, this is the one to use. Below right is a pic of its interface.
I usually adjust the time of the doubles (you could have between 1 and 4 takes, here I have 2) and then adjust the delay proportionately and the depth between 1 and 20 to get a nice shimmer on the voc. I buss the vocal to an auxiliary and then mix in the effect while playing back the track until I have a nice balance.
If you have any tricks you think would be good to share with the BPM crowd for next time, holla at me or post them on the BPM Facebook wall.
Play long and prosper!
Resistance to better sound is futile!
Words: Jonathan Shaw
Jonathan Shaw is a professional record producer who has worked with a multitude of artists and record labels in a freelance capacity. Outside this, he lectures music business at the University of the Witwatersrand and provides business consultation to the music industry. jshaw@smstudios.co.za
Ableton Tutorial: Working with Loops in Ableton Live
In the previous issue we covered ‘Programming Drums’ where we created a Drum Rack and with separate audio files we were able to program any desired drum pattern. Once I have achieved the basic drum groove I like to introduce a drum loop to give my drums a bed. This can be achieved with any audio loop in your library with Lives fantastic ‘Elastic Audio’ warping engine. Any loop can be previewed at your track tempo whilst playing the track to find a correct match. There are many ways to use a loop but for purposes of drums I prefer slicing audio loops to MIDI.
Open your browser and navigate to a folder of your drum loops. As mentioned you can hear them at the project tempo by simply clicking on them while Live is playing. Find the one you like then right-click (ctrl click for Mac) on the loop and choose ‘slice to new MIDI track.’
A window with options appears. For rhythmical drum loops, choose ‘create one slice per transient’.
Live will analyse the clip and add a single slice for each individual sound. Under the slicing preset you can choose ‘built-in’ or one of the others, which will add an effects chain to the resulting Drum Rack, complete with macro effect controls.
Click OK. Depending on how complicated the loop is a various number of slices will now be mapped to the Drum Rack. Select the Clip Overview and you will see it mapped across the keyboard, with each MIDI note representing a slice. For a simpler MIDI part with fewer slices you could choose ‘One slice per 1/16 note’ or something similar. You will now find that reordering the slices changes the beat creating your own unique loop to match your track.
The MIDI track will also receive input from your MIDI keyboard, so if you like you can record a totally new MIDI clip, playing back the slices as if they were a virtual instrument. Simply record arm the same channel and hit record on any free cell in that channel.
Loops can enhance your drums giving them that bit extra they need. Live gives you the ability to take just about any loop and bring your drums to life. With just a few tweaks you don’t even have to leave the loop as you found it, but can create something unique.
Everyday’s a School Day
“I slacked on maths and physics in school with the thought ‘I will be in the music industry anyway, I don’t need this sh*t’… and now that I’m getting deeper into music, half of all the work seems to be maths and physics. It just shows; always strive to excel in everything you do. You never know what skills and knowledge you may need in the future.”
This statement was the Facebook status of a student at SAE Institute who had completed eight weeks of study at the time.
To most people, subjects like maths and physics are deemed hard and they promptly drop them to take subjects they find easy in their latter years of high school. We are inherently lazy and consequently choose the option of greatest ease. This principle has a lot of merit in the context of working smarter not harder and taking the shortest route between Point A and B. However, when it comes to study and research, many of us choose the easy subjects through laziness and a lack of ambition. This easy option often serves to achieve great dis-ease as we embark on our careers or tertiary study when our lack of commitment to our studies at school hijacks our preferred career or study path. Regardless of what subjects you chose in high school or what tertiary qualification you may choose to study, being deemed educated by our associates and peers is singularly the most vital component in our employability. For clarity; educated in this context does not solely denote having a tertiary qualification or having obtained good grades at school, it denotes what one knows and the skill with which one can use it.
Mark Spitz commented that ‘everyone wants to be a champion but very few want to train’ after winning seven gold medals at the 1972 Olympics for swimming. This statement encompasses why for all the people setting off for work each day around the world, there are so few that are truly excited about another day in their career versus those that simply clock in and out each day at a job. Many people who place themselves in the stupid category believe that a career is reserved for the clever ones and consequently they under-achieve in a job for decades until they retire. Dear friends, what we know and don’t know is a choice. People that are deemed experienced have achieved this reputation by deliberately expanding their knowledge and skill over a sustained period and not because someone opened their head and filled it with something.
We know that experience is the most valuable currency in forging an inspiring and lucrative career for ourselves but, if you are a recent school leaver you can hardly present a relevant level of experience to prospective employers because you haven’t achieved it yet. So, how on earth does one kick-start a career?
Who you are and what you know influences how you are perceived by everyone else but, in addition there is a very powerful and authentic way to gain experience and skill and communicate your professional aspirations to the world.
If you do not currently have many years of work experience but you can provide prospective employers or clients with evidence that you are genuinely committed to a discipline for which you are seeking employment, and consequently that you have a brain and are prepared to use it, a tertiary qualification is probably the most valuable evidence you can present. If you have a tertiary qualification from a reputable education provider, it will give you a significant advantage and consequently send you closer to the front of the job queue. Yes, there is the ongoing cynical belief of some creative media industry practitioners that one cannot learn the necessary skills required for employment in a formal institution but, if this were true, education providers offering tuition in these disciplines would not exist. Education is not an island on the planet of supply versus demand. In fact, a reputable education provider would not gain this reputation if they do not employ trainers with extensive professional credibility and the resumés to support it. The irony is that if the institution has discerning hiring practices of trainers, it provides a student with not one but many internships that run concurrently during the course of the student’s studies. This is achieved by exposing the student to many informed and highly skilled thoughts, opinions and workflows during the course of their studies that do not simply simulate industry scenarios but provide actual industry experience during the curriculum. This profile is not the case if a single person mentors an individual in a single facility, as is the case in the traditional profile of an internship.
The reality is that many of the most revered vocations that afford career professionals higher earnings and greater scope, are not often obsessing about maths versus home economics but rather the quality of the grades the individual obtained in whatever course of study they have undertaken, as evidence of their commitment to whatever they do and their intellectual capacity. Yes, for certain vocations specific subject matter is essential to be considered for entry into a tertiary study program or line of employment, but most clients and employers are more concerned with what you can do and how well you can do it.
The division we place on clever and stupid further exacerbates this reality. ‘Clever folk take maths and physics, while the stupid opt for the soft options in subject matter’. This article is not interested in clever or stupid but real life, and more specifically skills that afford us greater opportunities and higher earnings as career professionals.
Our attitude and what we know are the two most important criteria to a prospective client or employer when they are deciding whether to invest their time and money in us. Many people believe that their resumé (CV) is the instrument that gets them the job or gig. Our resumé, at best, will get us a call to attend an interview at which the client or employer will then decide, quite simply, if they like us or not. Yes our qualifications and skills are very important but we tend to over-complicate the process of qualified and qualifications, when in fact it is a far simpler scenario of whether the person across the interview table believes they can work with us or not. Of course all parties are traditionally on their best behaviour around the interview table but, a discerning professional will quickly establish whether they want to employ, or be employed by this person or not. Most of this process is dictated by human interaction and not by how many PhDs someone has.
In summary, the more you know, the more employable you are, and the more money you can earn from your knowledge. How do you know when you are qualified? Get the Jan/Feb 2012 issue of BPM to find out.
About the author:David Maclean is a mastering engineer, educator and business executive with two decades of experience in the music industry and tertiary education sector. David is the Director of SAE Institute South Africa and is based at their campus in Cape Town. The Cape Town campus is one of 53 SAE campuses across the globe. David is known as the ‘white crocodile’ because of his unusual portfolio that includes equal-parts business, education and music production. Consequently David understands the attitudes and opinions of the industry professionals within the creative media technologies industries and the educator’s and authorities within Higher Education in South Africa and abroad.
Tutorial: Production Tips
Tutorial: Production Tips
Tricks from the Pro’s 8: A Hard Look at Yourself
Salutations and greetings BPMings! If you haven’t started the practice of using another “pro” track to reference your productions with, now is the time to start.
If you produce your own music, I’m sure you’ll have favourite artists or bands which you can simply look to for a reference which is similar to your type of music. You obviously don’t want to be an exact copy (well, maybe you do) and it just needs to be something you can find your “ballpark” with – something that you know sounds good from a technical perspective. In general I try to have the perspective that my track must sound bigger and better than my reference, which is quite a challenge, but it helps my clients get the sound they are after.
I see referencing in 3 phases: production, mixing and mastering.
Production:
Pull it in at the very start of your project (which implies you have a sonic goal in mind and not just a creative one) and use it to see what your track needs. Since you’re listening to a final master, you’ll need to pull the level of that track down about -6 to -9db so it doesn’t blow your ears off while crafting your track. You may find that you’ll change your choices for instruments when you reference against it and see how much “better” their choice was. You’re not looking for one that sounds exactly the same, but one of the same quality, perhaps.
Mixing:
Here you’ll evaluate your mix against theirs. Once you have your rough mix, adjust the level of the reference track so it sounds about the same. Take into account that your mix’s dynamics (sharp hits and lower ambiances) will not be the same as your mastered reference, so it’s okay if yours sounds a bit more “live” if you know what I mean.
Mastering:
If you referenced throughout your project you’ll find that your master will match very nicely. Here you’ll pull your reference up to 0db and compare it with your final master. How does the relative feel and level match? Does your track now compare in quality and clarity? You can concentrate on similar equalisation, dynamics and stereo spread. Besides using your ears foremost, in iZotope Ozone, for example, you can compare equalisation and use it as a guide. Here are two tracks (below), white and yellow, that show you slight differences in spectral equalisation:
You’ll want to troubleshoot and spot things you can improve on as you reference and ultimately produce a great product (just remember that pros are employed because no one else can do the same thing… food for thought). Good luck!
Play long and prosper!
Resistance to better sound is futile!
Jonathan Shaw is a professional record producer who has worked with a multitude of artists and record labels in a freelance capacity. Outside this, he lectures music business at the University of the Witwatersrand and provides business consultation to the music industry. jshaw@smstudios.co.za
Ableton Tutorial: Programming Drums in Ableton Live By Craig De Sousa
Programming Drums in Ableton Live
There are many ways to program drums, but still one of the most effective methods is using Ableton’s Drum Rack and a midi controller. This way the user has the control required to program more complicated rhythms and in a few simple steps you are able to map all your drum samples to your controller.
To begin open a new midi track (Mac- shift cmd T or PC- shift ctrl T). To open Drum Rack you will find it in the left drop down menu under “Live Devices/ Instruments.” Simply drag and drop the drum Rack onto your new midi channel.
In the track view below the Drum Rack appears with pads that have note numbers which are linked to the keys or pads on your controller. Simply drag and drop drum samples from the browser onto each pad. By double clicking the pad you reveal the Simpler plug-in with the sample already loaded. Simpler allows you to manipulate the sample by changing start and end points, loop features, volume envelopes etc.
To program drums simply record arm the midi channel, hit record on an empty clip and play the parts you want. A great tip is to create a new midi channel for each new drum part and to record separate parts. This will allow you to create variations of each separate. When doing this remember to route the midi signal to the Drum Rack on the “In’s & Outs” portion of each channel.
After recording a clip quantise, accordingly (Mac- cmd U PC- ctrl U.) Always check the quantise settings before applying.
Alternately Ableton has an extensive groove pool which will give your drums a more natural swing. Live’s Library includes a large selection of grooves, which appear as .agr files in the Browser. The easiest way to work with Library grooves is to drag and drop them from the Browser directly onto clips in your Set. This immediately applies the timing characteristics of the groove to the clip. A solid rhythm is the most crucial element of your track. It provides a foundation on which the rest of the track is built. Once your kick is placed the groove builds above it. Each new element should complement and support what’s gone before in terms of how it works both rhythmically and as part of the overall sound.
On the Drum Rack Midi channel there is an arrow on the right of the channel name. Click on this to expand the audio channels of your drums. Here you can apply unique EQ, compression, reverb and other FX.
You can also mix your drums and pan using each channel strip. If you are layering multiple sounds as shown here with the claps, try select all and create a group (select all channels then Mac- cmd G or PC- ctrl G.) This will allow you to apply the same FX to multiple pads.
The Drum Rack channel strip is where you can apply all your final FX to your kit. This is where opinions will vary but generally a drum FX chain can really shape things for you. An example would be a final EQ, Multi-band Dynamics, Compression and even Saturation. This glues the kit together and helps with a better final mix down of your track. A marriage of tone and rhythm is what you are after. Get the drums right and the rest will follow.
Demystifying the Context of Being Educated By David Maclean
Demystifying the Context of Being Educated
“If you’re interested, you’ll do what’s convenient. If you’re committed, you’ll do whatever it takes.”
“Those that are informed about what they do (as opposed to pretending to be) are dramatically more in-demand (employable) than those that are not.”
To most DJs, composers, music producers and musicians, education is not something they are concerned about while they are honing their craft or earning their income from executing their craft. However, regardless of whether one is beat juggling, purchasing a home or managing one’s finance, how educated one is in an activity directly influences the quality and effectiveness of the outcome. Put simply; the term ‘education’ does not solely pertain to sitting in a classroom being taught new information by a formal trainer. Education is the act of knowing more through wilfully seeking out or exposing oneself to new information and experiences. So what?
Being educated and experienced in anything is what is attractive to others who in turn use one’s skills and services. Conversely, if one is ignorant about something, one cannot a) partake in that activity, and b) one is of absolutely no use to others in that regard. ‘Being educated’ often creates divides and strong opinions, but in the context of this article education simply means being informed. Those who are genuinely informed about what they do (as opposed to pretending to be) are dramatically more in-demand (employable) than those who are not. Inherently curious people know vastly more than those who simply regurgitate the opinions and approaches of others. Leaders innovate while followers regurgitate.
The jury has been out forever with regard to the validity of formal training in creative media technologies like music production, sound engineering, filmmaking and animation. Many believe that one can only learn these disciplines effectively on the job and not in a classroom. If this scenario is taken at face value, the sentiment is most likely true. However, an institution worth enrolling in will ensure that students receive a powerful and authentic practical training provided by highly experienced industry professionals, as opposed to last year’s straight-A students employed on a minimum wage because they have no commercial experience, and consequently cannot command anything larger than a minimum wage. If the training provider undertakes discerning employment of trainers, students will be exposed to many trainers during their course of study instead of shadowing only one engineer or producer in the context of the traditional internship. This equates to far greater exposure to many opinions and workflows and not only that of one individual.
Another aspect of formal tuition by a truly credible provider that is often overlooked, discounted and in certain instances deemed irrelevant, is intellectual enquiry through research and being intellectually challenged. A person who is a great mix engineer or DJ who cannot think independently is not deemed a significant contributor to society and consequently is not as recognised as an informed and intelligent mind. This is not rocket science; it is simply the code of the planet. It must be said that, like most things, being educated is relative and in certain instances, subjective.
However, a tertiary level qualification on one’s résumé speaks volumes to prospective employers of one’s capability to endure intellectual enquiry and ultimately know more about an area of interest. Being informed takes commitment and a genuine interest to arrive at knowing more. A useful point of reference to assess whether one is simply interested in something or deeply passionate about it, is highlighted in this statement by John Assaraf: If you’re interested, you’ll do what’s convenient. If you’re committed, you’ll do whatever it takes.
What is the point of all of this? Why is an article on education and being educated in an urban culture magazine? The answer is simple; whether people talk about it or not, to be successful at what one does takes commitment, intellectual enquiry and a desire to be thorough. It is for this very reason that for all the people that participate in something, there are very few that are truly superb at it. If you dabble in a hobby that is fine, but if you want to pursue something as a career and you are not superb at what you do, there are others that will be and are consequently more in-demand by prospective clients and employers.
Ready D and Protoculture aren’t superb craftsmen because someone opened their heads and poured information into the cavity. They are superb because they have chosen to be. Professionals like them eat, breathe and sleep their craft and are very deliberate about everything they do and how they do it. The informed are constantly pushing themselves to know more, always. Be informed, you’re more valuable that way, and the enjoyment of what you do is so much more invigorating.
SAE Institute is offering one lucky BPM reader a full scholarship to study a 1-year full-time Higher Certificate qualification in either Sound Production, Digital Film Production or Animation & VFx at their Cape Town campus next year.
To apply simply go to http://sae.medianinjas.co.za/competition/
About the courses:
For more information on any of these courses or about SAE Institute visit http://capetown.sae.edu or call or email them:
Tel. +27 (0) 21 469 3600 | eMail: capetown@sae.edu
About the author:
David Maclean is a mastering engineer, educator and business executive with two decades of experience in the music industry and tertiary education sector. David is the Director of SAE Institute South Africa and is based at their campus in Cape Town. The Cape Town campus is one of 53 SAE campuses across the globe. David is known as the ‘white crocodile’ because of his unusual portfolio that includes equal-parts business, education and music production. Consequently David understands the attitudes and opinions of the industry professionals within the creative media technologies industries and the educator’s and authorities within Higher Education in South Africa and abroad.
Tutorial: Relative Keys Tutorial
Let’s start of by choosing a tonic/root key for our piece. Let’s use C major for example. Have a look at the C major scale.
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