Thanks, Jono! Just caught up on the livestream, enrolled on the course and watch the first couple of videos. I am looking forward to working my way through the rest over the next few weeks. I don't have the full Spitfire Orchestra (I have the free Discovery version) but I do also have Audio Imperia Nucleus Core Orchestra so I hope what I learn can help me get more from that as well.
Thank you so much, Colin. I hope you'll find it extremely useful and, absolutely, I'm very much hoping that you'll be able to apply what you learn to a wide range of orchestral libraries.
I will say that in the weeks since LP11 was released, though it took me a bit of time, I've found some legitimately helpful uses for the keyboard player feature (ones that don't remove any sense of control or authorship from myself). For example... If I'm away from my studio working on a song on my laptop and decide it needs a simple piano part consisting of (for example) 8th note block chords, programming that in a way that sounds realistic is surprisingly difficult. But now I've made a few keyboard player presets which do exactly that. Just block chords played in regular quarter notes, 8th notes or (using the manual entry feature) a few syncopated rhythms that I often tend to play when I'm actually playing a keyboard. It's playing patterns that I've told it to play, following a chord progression that I've written, and playing the voicings (using the hand sliders) that I choose. It's essentially no different to programming something by hand and then using the humanise MIDI function to make the velocities and timing slightly less robotic - it's just quicker and sounds better! Another thing I've been doing us using it quick way of testing out different chord substitutions when I'm making a demo. If I'm thinking "ok this bridge sounds good but would it work better if I replaced that Fm with a Dm7b5?", I can just try adding both chords to the chord track one at a time, and the player region updates automatically. Again, I could either play or program both versions, but this allows me to split my brain up and only have to focus on the composition, not the playing or programming (at a stage where the actual part played will be replaced in the final recording anyway). I think like lots of music tech, some people will use this as a lazy crutch to make bland soulless crap, but other people will find more practical and creative ways for for it to help their workflows and hopefully make better music as a result.
Thanks, Jim. Absolutely, all valid points. As you've probably read my thoughts on the subject in my responses elsewhere, I'll keep this brief but I certainly have no objection to these tools being used in the contexts you're finding them helpful. Like you, I just don't want to hear pieces of music which are overly reliant on resources like this in a lazy, unconsidered way.
Spent a good bit of time on the course too. Highly recommended even if you don’t have the spitfire libraries. You can do a lot even with the BBCSO foundational sample libraries. I’m going to create some articulation sets tomorrow. Why? Because Jono thought me how to 😂. Thanks again guys, great content at a nice and fair price point. Really enjoying the pop strings section. I will actively use my new skills in my compositions.
@@jonobuchananmusic Really enjoying the course Jono. I'm picking so much knowledge up so I'm really grateful. I only wish I was 20 not 46 so I could compose or produce for a living and have done a music degree instead of an IT one (but it pays the mortgage) ! Maybe I should buy a couple of lottery tickets ! This is only a small thing, but it might be nice to have a facility to ask questions or post suggestions or comments on the teachable interface. It might give the course a community vibe as well. For example in chapter 15, my music theory is ok-ish, so I'm following inversions, minor/major scale choices and stuff like that. But when I come do to my own string compositions, I'll have to probably have to write the chords out and scales (using notes in logic of course) out a wee bit and see what fits (and use my ear too). That might be a sharable tip for beginners. Anyways that just a small example.
Hi John. Thanks so much for the feedback and I'm delighted to hear you're enjoying the course and that it's proving useful. Absolutely, Will and I are discussing the best ways to begin to develop 'community resources'. If that isn't possible via Teachable (we're still getting our heads around that platform!), we might look at Discord or somewhere else instead. On your specific point, part of the reason we added the Music Theory videos I made for YT last summer for free was to - I hope - facilitate harmonic possibility and understanding, so do go and grab those videos too if you think they'd help. But rest assured we're as keen as you are to bring you guys more places to share musical ideas and tips.
Sorry, but I like the session players feature. It’s helpful to me for creating backing tracks. I can edit the default progression and add my own chords. I can also substitute any instrument to replace the default ones.
Hi Brian. You don't need to be sorry! It's great that you're finding them helpful. Nearly everyone who has said they're enjoying those features is using them to build backing tracks and, in that context, I absolutely see their value. My concerns come when they bleed too heavily into 'finished compositions'. I'm really enjoying reading the breadth of opinions about the Session Players - huge thanks for sharing yours.
Thank you, Jono. I moved from Logic to Studio One (especially for writing to picture - I know Logic is great there but I had issues with some of my HW controllers and I was already trialing S1), but I'm looking forward to your course and any scoring or music production videos/courses that you'll bring us in the future (I also have your Science of Sound courses, yet to go through those).
Thank you so much - I really hope you enjoy the course. Do let me know how you get on with it. Same with the Science of Sound courses - I so enjoyed making those. Hugely appreciated!
@@jonobuchananmusic I'm trying to get more into scoring to picture and I was really looking to learn more about writing for an orchestra and orchestration/instrumentation in general. I'll reach out to you after I'll get through the course ;)
To me session players are no different to Band In A Box as a means to create a backing track for practice, working out chord progressions, song structure, groove etc. They are both good tools to quickly sketch out the basics as the first step in the creative process. Arguably they are like everything else in logic, they are tools to facilitate releasing your creativity.
Thanks for your thoughtful comment. I agree with all of this except the last sentence! If anyone uses the Session Players as you describe, I absolutely agree that they have value to get a sense of what a composition/track could go on to become and that they can definitely kick-start one type of creative process. But a collection of tools which have the capability to offer rhythm, groove, harmony and even melody do much more than any other of Logic's instruments, which do require some skill to play, or a musical ear to wrest ideas out of; or its sound shaping tools, which rely on an input signal. My fear is that others will be less patient than you and will be readily seduced by these tools as co-composers/ghost-writers. For me, personally, compositions made that way will lose the very essence of what it is to be creative. But as rehearsal tools, absolutely, I see the value. A wide range of opinions is what will keep conversations about AI and its role in our lives vital and active, so I'm very happy to debate all takes on this topic! Thanks again.
Essay incoming I feel like the session players debate is a bit perilous for one main reason and it is this- accessibility of tools for self expression, and a bit of misguided gate keeping. To access is the arc of history. Self expression is often done best by those without access to traditional background in the arts. Why has every rock virtuoso copied Leadbelly? It’s because All the lessons in the world won’t teach you how to move people. Rap music was a giant lurch towards accessibility in that rhythm can be more intuitive than melody. Rap focused on loud bass, not melody and harmony. Who was instructed in western musical conventions? They sampled other people playing instruments to deliver their message. What these tools have in common with rap is it allows the kid who will not be taught years on end how to play a piano, who’s family has never owned a piano, to apply musical ideas he has to these tools. In a way it is a beautiful thing. That doesn’t mean that we as artists should not strive to learn as much as possible about musicianship, but how you FEEL can be bluntly said in a direct and unique way and all the while skills of the learned few dwindle in importance. Seduction by ai? Don’t be daft, Jono. (Comment provided by ChatGPT) 🤖🤖🤖🤖🤖🤖🤖🤖🤖🤖
Wonderful! And yes, I broadly agree. Everything you've said about how innovative music has - throughout time - been created by those without high levels of 'traditional musical training and practice' (for want of a better phrase) is true. And it's true for all of us - when we all first started making music, we weren't dissuaded by our limitations - we used them as strengths or workarounds to take each next step. And we still do. (I do, certainly). Through this week - reading everyone's opinions - the image which keeps appearing in my head is the idea of building blocks; the pieces which go into composing/producing a piece of music. I get twitchy when I imagine each of these individual pieces being too easy to assemble or too large a part of the whole. As with all new developments in software, there are those of us (all of us watching and posting on this channel, I suspect), for whom the Session Players are new, with the memory and working practices of NOT having them available fresh in our minds and our workflows. That won't be true for anyone who downloads Logic Pro to use for the first time tomorrow - what will they do with these tools? My worry is that I do think the Session Players - if used in the most lazy way they COULD be used - offer a route to rapid compositions where each building block is, for my taste, too large. Rihanna's 'Umbrella' uses an Apple Loop as the foundation of its beat pattern and is just one example of plenty of music with an obvious central sample. But it's the not the beat and the bassline and the harmonic foundation and the melody and the lyrics of that tune. It's just one building block, whose size will feel different to each of us, depending on how we feel about working with pre-made musical pieces. Everyone has to find the point at which they're comfortable for technology to play a 'creative' role in our music making process. And that's going to be different for all of us. Right, I'm off to watch a double-bill of Ex-Machina and Her.
Very interesting livestream, thank you Jono! ...Anybody else get a lot of TH-cam ads popping up and trying to teach you how to flirt with women? Does their algorithm assume that people who have their heads in Logic Pro for a large portion of the day probably lack social skills in that direction?? Could they be right?? 😂😂😂
Sorry, I usually like your stuff, but I’m not certain how these session players are significantly different from using samples and loops. I see them as additional tools to use to create music.
Hi Danny. Thanks so much for your comment. Essay incoming! I know musicians who completely avoid loops, presets and any other sound-making resources which have - to any extent - been 'pre-made'. I know plenty of other musicians (myself included), who are happy - up to a point - to start with a preset (usually editing it substantially through the creative process), or to import a loop with the intention of getting out the Scissors to mine it for 'that moment' which feels interesting and sonically rich, before trying to work out which other musical puzzle pieces to fit around it. There is certainly a sliding scale in terms of how 'comfortable' producers are in terms of working with ready-made resources. What's different about the Session Players in Logic is that they offer rhythm, groove, bass lines and chord progressions. And, if you configure the settings accordingly, even melodies. These aren't small building blocks in the process of musical creation - they ARE musical creation. Whenever a songwriter is taken to court to assess whether they have breached someone else's copyright, a song is stripped back to its essentials - melody, harmony, rhythm - and these are put up against a similar distillation of the rival song to assess whether they're 'too close'. The production is rarely included - those musical fundamentals ARE a song. If you - or any of us - really are happy to use the Session Players to get an idea up and running with the intention of then significantly intervening to adopt a similar 'mining' approach for just the tiny little moments which offer something interesting, to re-sample a tiny section of a hook, or similar, then absolutely - you're right - these could be creative tools. But my fear is that most music-makers, over time, won't be as fastidious as you. They won't be as discerning and will be happy for tools like this to suggest chord progressions, rhythmic shapes and the building blocks of what music actually is. It'll just be too easy to accept them. And, as Apple have taken the time to work with skilled musicians to generate this content, the argument of 'I couldn't do better than that' will, I fear, win. Another way of looking at it would be to look at the debates around how students are using AI writing resources to shape the essays they're writing for their courses. If a student's essay uses a spell-checker once it's written, that is an example of technology intervening, but in a way that most people would find relatively comfortable. If their essay starts with a fully-fledged, carefully worded argument entirely generated by AI and the 'creative process' of then working on that essay was to retrospectively change some of the syntax, to edit down to the required word count but fundamentally to leave the ideas in the essay as they were generated, that feels a lot less creative to me. So I do think we need to be careful. And, as I said in the live stream - for me - a huge part of this comes down to the excitement and pioneering feeling of being creative. Patiently unlocking new musical ideas or unexpectedly stumbling across something great by accident. Any resources which jump over these stages do need to be handled with care, I think. If you've got this far, huge thanks for reading!
Well if we're going to get into the "AI will never be better than humans" debate, I have to say that sadly I feel it's only a matter of time before it outshines us in all fields, probably just a couple of years. Then we will all have to become Buddhist monks and flush our egos down the toilet (metaphorically speaking) 😂😂
@@jonobuchananmusic Jono, thanks for your amazing channel. You are one of several stalwarts I come back to time and again. With respect to the session players it comes down in part to where you are in the musical journey. If like some of us you've been writing and playing music for decades (ahem!), know theory pretty well, play at least one if not several instruments well, have already "discovered" the magic of putting chords together into coherent patterns (I loved your insight into those lovely early days of finding music), created melodies around them, then I think they have some real uses. If you're working on a tune, have a chord progression that is resonating for you but want to experiment with it with different tempos or chord substitutions or even signature changes, it's quite nice to whip something up and try these things out. Then, you start and put your own instruments in, add some layers of dissonance, breath life into it in essence, and all of sudden you're discovering and creating. I completely agree that if you lean on these too heavily you will end up with a sticky, anodyne mess that will disappear as quickly as it appeared. I love the idea of the in-depth courses. I have been checking back regularly to see if any more subtractive synthesis videos have shown up. I quite enjoyed that and want to know more as a more old-school type eager for new sounds. Now I see that there is a chance that this will be a course and I will very much look forward to that one when it happens. I tried to buy the orchestral course as a gift for my brother and pay for it with Apple Pay and it seemed to get lost in a loop. Do you know if there is any problem with buying a course from here in the States? Once I make sure that it never did in fact go through, I'll try it again with a credit card directly. Eventually I will buy this one for myself as well.Where else could one hope to get a taste of a Guildhall education! Again, many thanks for all you do. Best Wishes. -Roy
Thanks, Jono! Just caught up on the livestream, enrolled on the course and watch the first couple of videos. I am looking forward to working my way through the rest over the next few weeks. I don't have the full Spitfire Orchestra (I have the free Discovery version) but I do also have Audio Imperia Nucleus Core Orchestra so I hope what I learn can help me get more from that as well.
Thank you so much, Colin. I hope you'll find it extremely useful and, absolutely, I'm very much hoping that you'll be able to apply what you learn to a wide range of orchestral libraries.
i LOVE musical Christmas!!
🤣
I will say that in the weeks since LP11 was released, though it took me a bit of time, I've found some legitimately helpful uses for the keyboard player feature (ones that don't remove any sense of control or authorship from myself).
For example...
If I'm away from my studio working on a song on my laptop and decide it needs a simple piano part consisting of (for example) 8th note block chords, programming that in a way that sounds realistic is surprisingly difficult.
But now I've made a few keyboard player presets which do exactly that. Just block chords played in regular quarter notes, 8th notes or (using the manual entry feature) a few syncopated rhythms that I often tend to play when I'm actually playing a keyboard. It's playing patterns that I've told it to play, following a chord progression that I've written, and playing the voicings (using the hand sliders) that I choose. It's essentially no different to programming something by hand and then using the humanise MIDI function to make the velocities and timing slightly less robotic - it's just quicker and sounds better!
Another thing I've been doing us using it quick way of testing out different chord substitutions when I'm making a demo. If I'm thinking "ok this bridge sounds good but would it work better if I replaced that Fm with a Dm7b5?", I can just try adding both chords to the chord track one at a time, and the player region updates automatically. Again, I could either play or program both versions, but this allows me to split my brain up and only have to focus on the composition, not the playing or programming (at a stage where the actual part played will be replaced in the final recording anyway).
I think like lots of music tech, some people will use this as a lazy crutch to make bland soulless crap, but other people will find more practical and creative ways for for it to help their workflows and hopefully make better music as a result.
(I now see other people in the comments have made similar points to this in a lot fewer words!)
Thanks, Jim. Absolutely, all valid points. As you've probably read my thoughts on the subject in my responses elsewhere, I'll keep this brief but I certainly have no objection to these tools being used in the contexts you're finding them helpful. Like you, I just don't want to hear pieces of music which are overly reliant on resources like this in a lazy, unconsidered way.
Spent a good bit of time on the course too. Highly recommended even if you don’t have the spitfire libraries. You can do a lot even with the BBCSO foundational sample libraries. I’m going to create some articulation sets tomorrow. Why? Because Jono thought me how to 😂. Thanks again guys, great content at a nice and fair price point. Really enjoying the pop strings section. I will actively use my new skills in my compositions.
Thanks so much, John. Please do send over any and all feedback on the course. Very much hope you enjoy it!
@@jonobuchananmusic Really enjoying the course Jono. I'm picking so much knowledge up so I'm really grateful. I only wish I was 20 not 46 so I could compose or produce for a living and have done a music degree instead of an IT one (but it pays the mortgage) ! Maybe I should buy a couple of lottery tickets !
This is only a small thing, but it might be nice to have a facility to ask questions or post suggestions or comments on the teachable interface. It might give the course a community vibe as well. For example in chapter 15, my music theory is ok-ish, so I'm following inversions, minor/major scale choices and stuff like that. But when I come do to my own string compositions, I'll have to probably have to write the chords out and scales (using notes in logic of course) out a wee bit and see what fits (and use my ear too). That might be a sharable tip for beginners. Anyways that just a small example.
Hi John. Thanks so much for the feedback and I'm delighted to hear you're enjoying the course and that it's proving useful. Absolutely, Will and I are discussing the best ways to begin to develop 'community resources'. If that isn't possible via Teachable (we're still getting our heads around that platform!), we might look at Discord or somewhere else instead.
On your specific point, part of the reason we added the Music Theory videos I made for YT last summer for free was to - I hope - facilitate harmonic possibility and understanding, so do go and grab those videos too if you think they'd help. But rest assured we're as keen as you are to bring you guys more places to share musical ideas and tips.
😊 Thank you Jono for all the information regarding Logic Pro X. You are a great teacher!
You're extremely welcome, thank you so much.
Sorry, but I like the session players feature. It’s helpful to me for creating backing tracks. I can edit the default progression and add my own chords. I can also substitute any instrument to replace the default ones.
Hi Brian. You don't need to be sorry! It's great that you're finding them helpful. Nearly everyone who has said they're enjoying those features is using them to build backing tracks and, in that context, I absolutely see their value. My concerns come when they bleed too heavily into 'finished compositions'. I'm really enjoying reading the breadth of opinions about the Session Players - huge thanks for sharing yours.
Thank you, Jono. I moved from Logic to Studio One (especially for writing to picture - I know Logic is great there but I had issues with some of my HW controllers and I was already trialing S1), but I'm looking forward to your course and any scoring or music production videos/courses that you'll bring us in the future (I also have your Science of Sound courses, yet to go through those).
Thank you so much - I really hope you enjoy the course. Do let me know how you get on with it. Same with the Science of Sound courses - I so enjoyed making those. Hugely appreciated!
@@jonobuchananmusic I'm trying to get more into scoring to picture and I was really looking to learn more about writing for an orchestra and orchestration/instrumentation in general. I'll reach out to you after I'll get through the course ;)
To me session players are no different to Band In A Box as a means to create a backing track for practice, working out chord progressions, song structure, groove etc. They are both good tools to quickly sketch out the basics as the first step in the creative process. Arguably they are like everything else in logic, they are tools to facilitate releasing your creativity.
Thanks for your thoughtful comment. I agree with all of this except the last sentence! If anyone uses the Session Players as you describe, I absolutely agree that they have value to get a sense of what a composition/track could go on to become and that they can definitely kick-start one type of creative process. But a collection of tools which have the capability to offer rhythm, groove, harmony and even melody do much more than any other of Logic's instruments, which do require some skill to play, or a musical ear to wrest ideas out of; or its sound shaping tools, which rely on an input signal. My fear is that others will be less patient than you and will be readily seduced by these tools as co-composers/ghost-writers. For me, personally, compositions made that way will lose the very essence of what it is to be creative. But as rehearsal tools, absolutely, I see the value. A wide range of opinions is what will keep conversations about AI and its role in our lives vital and active, so I'm very happy to debate all takes on this topic! Thanks again.
Link to the teachable site?
Thanks so much for your enquiry. Here it is!: jono-buchanan-music-s-school.teachable.com
Essay incoming
I feel like the session players debate is a bit perilous for one main reason and it is this- accessibility of tools for self expression, and a bit of misguided gate keeping.
To access is the arc of history. Self expression is often done best by those without access to traditional background in the arts. Why has every rock virtuoso copied Leadbelly? It’s because All the lessons in the world won’t teach you how to move people.
Rap music was a giant lurch towards accessibility in that rhythm can be more intuitive than melody. Rap focused on loud bass, not melody and harmony. Who was instructed in western musical conventions? They sampled other people playing instruments to deliver their message.
What these tools have in common with rap is it allows the kid who will not be taught years on end how to play a piano, who’s family has never owned a piano, to apply musical ideas he has to these tools. In a way it is a beautiful thing.
That doesn’t mean that we as artists should not strive to learn as much as possible about musicianship, but how you FEEL can be bluntly said in a direct and unique way and all the while skills of the learned few dwindle in importance.
Seduction by ai? Don’t be daft, Jono.
(Comment provided by ChatGPT)
🤖🤖🤖🤖🤖🤖🤖🤖🤖🤖
Wonderful! And yes, I broadly agree. Everything you've said about how innovative music has - throughout time - been created by those without high levels of 'traditional musical training and practice' (for want of a better phrase) is true. And it's true for all of us - when we all first started making music, we weren't dissuaded by our limitations - we used them as strengths or workarounds to take each next step. And we still do. (I do, certainly).
Through this week - reading everyone's opinions - the image which keeps appearing in my head is the idea of building blocks; the pieces which go into composing/producing a piece of music. I get twitchy when I imagine each of these individual pieces being too easy to assemble or too large a part of the whole. As with all new developments in software, there are those of us (all of us watching and posting on this channel, I suspect), for whom the Session Players are new, with the memory and working practices of NOT having them available fresh in our minds and our workflows. That won't be true for anyone who downloads Logic Pro to use for the first time tomorrow - what will they do with these tools? My worry is that I do think the Session Players - if used in the most lazy way they COULD be used - offer a route to rapid compositions where each building block is, for my taste, too large. Rihanna's 'Umbrella' uses an Apple Loop as the foundation of its beat pattern and is just one example of plenty of music with an obvious central sample. But it's the not the beat and the bassline and the harmonic foundation and the melody and the lyrics of that tune. It's just one building block, whose size will feel different to each of us, depending on how we feel about working with pre-made musical pieces.
Everyone has to find the point at which they're comfortable for technology to play a 'creative' role in our music making process. And that's going to be different for all of us. Right, I'm off to watch a double-bill of Ex-Machina and Her.
Very interesting livestream, thank you Jono! ...Anybody else get a lot of TH-cam ads popping up and trying to teach you how to flirt with women? Does their algorithm assume that people who have their heads in Logic Pro for a large portion of the day probably lack social skills in that direction?? Could they be right?? 😂😂😂
Thanks so much. And now I know what the content needs to be for the next course! ; )
Logic 11 works fine on my 2017 iMac
That is GREAT to know. Thanks Jezz.
@@jonobuchananmusic PS. I also hate the session players! Don't tell anyone though, it'll be our little secret 😁
@@JezzBowden It's safe with me, I promise... ; )
🤍🤍🤍
🧇🌭🤣
Sorry, I usually like your stuff, but I’m not certain how these session players are significantly different from using samples and loops. I see them as additional tools to use to create music.
Infinite adjustability, for one. Loops are predefined, although still very usefull.
@@preamble466 I understand that. I don’t get why they should be demonized as anti-creative.
Hi Danny. Thanks so much for your comment. Essay incoming! I know musicians who completely avoid loops, presets and any other sound-making resources which have - to any extent - been 'pre-made'. I know plenty of other musicians (myself included), who are happy - up to a point - to start with a preset (usually editing it substantially through the creative process), or to import a loop with the intention of getting out the Scissors to mine it for 'that moment' which feels interesting and sonically rich, before trying to work out which other musical puzzle pieces to fit around it.
There is certainly a sliding scale in terms of how 'comfortable' producers are in terms of working with ready-made resources. What's different about the Session Players in Logic is that they offer rhythm, groove, bass lines and chord progressions. And, if you configure the settings accordingly, even melodies. These aren't small building blocks in the process of musical creation - they ARE musical creation. Whenever a songwriter is taken to court to assess whether they have breached someone else's copyright, a song is stripped back to its essentials - melody, harmony, rhythm - and these are put up against a similar distillation of the rival song to assess whether they're 'too close'. The production is rarely included - those musical fundamentals ARE a song.
If you - or any of us - really are happy to use the Session Players to get an idea up and running with the intention of then significantly intervening to adopt a similar 'mining' approach for just the tiny little moments which offer something interesting, to re-sample a tiny section of a hook, or similar, then absolutely - you're right - these could be creative tools. But my fear is that most music-makers, over time, won't be as fastidious as you. They won't be as discerning and will be happy for tools like this to suggest chord progressions, rhythmic shapes and the building blocks of what music actually is. It'll just be too easy to accept them. And, as Apple have taken the time to work with skilled musicians to generate this content, the argument of 'I couldn't do better than that' will, I fear, win.
Another way of looking at it would be to look at the debates around how students are using AI writing resources to shape the essays they're writing for their courses. If a student's essay uses a spell-checker once it's written, that is an example of technology intervening, but in a way that most people would find relatively comfortable. If their essay starts with a fully-fledged, carefully worded argument entirely generated by AI and the 'creative process' of then working on that essay was to retrospectively change some of the syntax, to edit down to the required word count but fundamentally to leave the ideas in the essay as they were generated, that feels a lot less creative to me.
So I do think we need to be careful. And, as I said in the live stream - for me - a huge part of this comes down to the excitement and pioneering feeling of being creative. Patiently unlocking new musical ideas or unexpectedly stumbling across something great by accident. Any resources which jump over these stages do need to be handled with care, I think. If you've got this far, huge thanks for reading!
Well if we're going to get into the "AI will never be better than humans" debate, I have to say that sadly I feel it's only a matter of time before it outshines us in all fields, probably just a couple of years. Then we will all have to become Buddhist monks and flush our egos down the toilet (metaphorically speaking) 😂😂
@@jonobuchananmusic Jono, thanks for your amazing channel. You are one of several stalwarts I come back to time and again.
With respect to the session players it comes down in part to where you are in the musical journey. If like some of us you've been writing and playing music for decades (ahem!), know theory pretty well, play at least one if not several instruments well, have already "discovered" the magic of putting chords together into coherent patterns (I loved your insight into those lovely early days of finding music), created melodies around them, then I think they have some real uses. If you're working on a tune, have a chord progression that is resonating for you but want to experiment with it with different tempos or chord substitutions or even signature changes, it's quite nice to whip something up and try these things out. Then, you start and put your own instruments in, add some layers of dissonance, breath life into it in essence, and all of sudden you're discovering and creating. I completely agree that if you lean on these too heavily you will end up with a sticky, anodyne mess that will disappear as quickly as it appeared.
I love the idea of the in-depth courses. I have been checking back regularly to see if any more subtractive synthesis videos have shown up. I quite enjoyed that and want to know more as a more old-school type eager for new sounds. Now I see that there is a chance that this will be a course and I will very much look forward to that one when it happens.
I tried to buy the orchestral course as a gift for my brother and pay for it with Apple Pay and it seemed to get lost in a loop. Do you know if there is any problem with buying a course from here in the States? Once I make sure that it never did in fact go through, I'll try it again with a credit card directly. Eventually I will buy this one for myself as well.Where else could one hope to get a taste of a Guildhall education!
Again, many thanks for all you do. Best Wishes. -Roy