My method is personal. Everyone needs different lessons. I love to answer questions, and I also ask them, to ascertain what the student's needs are.
Zoom is handy, as we can view each other's screens, and I can transmit my DAW output and hardware/room to you. If you are already producing tracks, I love to hear fresh material. If I hear your music, it will be obvious what I need to teach. Sometimes, all that people need is to hear that they are the bomb. Having confidence is the key to all of this. My main goal is the student's empowerment. Empowerment is essentially self-knowledge and accountability. Over the years, I have learned that the issues that people have with their music are symbolic of the issues in their lives.
Sometimes, my private lessons are more like therapy than anything else. The truth is that music is easy. It's never been easier. It's entirely subjective, and given the infinite variety of successful music out there now, it's obvious that the style doesn't matter. You need to have style, of course, and you do: authentic style is your real personality. You just need to be brave enough to expose yourself and take heart.
Music is subjective. Audio is a hard science. It's possible to engineer audio using only intuition and careful listening, but the math is helpful, especially if you are designing audio systems (another subject I am happy to teach).
My first job was as a comedian. Most people find it enjoyable to learn with me when we share interests. Just be aware, I'm extremely provocative, in the sense that I will provoke a reaction from basically anyone who interacts with me. My nickname in high school was You Will Know Him By The Trail Of The Dead.
My first serious band had a college radio hit in 2003 and I have been working in the music industry since then. I had significant input as to the mixing of the record, and I attended the full mastering session with amazement. Much of my professional work has been in the concert and nightclub industry, but I learned early that while shows might be fun, the records are much more permanent and meaningful.
I did study music composition and theory under Gyula Csapo at the University of Saskatchewan, which is relevant because Gyula is old and European enough to teach audio physics when he teaches those subjects. Although Gyula was a bit too harsh and discouraging for me to complete the program, I gave him a private performance a few months after I had left his program, using oscillators I had constructed. He was delighted and congratulated me for escaping academia with my creativity intact.
You can listen to my music at (concealed information) -- I have lots of different music on my page. You might not like my personal musical sensibilities, and that's fine. I teach audio science, which is the intersection between acoustic physics and electrical engineer. These days, we are concentrating on digital signal processing.
My experience covers much more than music production. I have designed and deployed hundreds of sound systems, and currently prototyping reference monitors that will be available fairly soon under my brand SynPar. Both my father and grandfather were deep science guys, and although I lack the credentials that gave them opportunities, the world today is very different. I have had many teachers, and my real education far surpasses what I could have learned institutionally.
Bob Katz (Mastering Audio, 2002) is a personal mastering mentor and friend. We can be found trolling noobs together in the professional mastering forums. That's a joke if you know Bob, because he's the opposite of a troll. I've been provoking people online since 1993, so I can't say the same for myself. Rarely have we disagreed. We have challenged each other to be completely transparent while remaining colorful, which is the essence of both mastering and personality.
Barry Ober (M&K, Moog) is my audio design consultant and possibly an earlier incarnation of myself. We independently performed the same subsonic differential experiment 40 years apart, Barry when working at Moog in 1969 and myself when warming up a dark church for Tim Hecker. I've never met someone so similar to me. It's a bit creepy.
Formalism is a junk ideology, and you probably agree if you are browsing this site. I knew that audio science was my life at age 10, when I started my lifelong gear journey, obsessively searching through the newspaper classified ads for a mixing board. I have many, many students who I teach privately already. One of my students said that he learned more in a few months of online lessons with me than he did in four years at the Eastman School of Music.
1998: Learned to sample a 12" single from Graham Factor (and have never been caught - I can teach you this)
2000: Took up my primary instrument, the bass
2001: Began producing beats and tracks
2003: No Birds, "Don't Rely On Dying Young"
2005: No Birds, "Flowers"
2006: Performed at Connect Festival as a solo artist, the beginning of a 10+ year residency
2010: Tour of Eastern Europe and Russia
2010: Ram Jam Nightclub
2012: The New Modes of Club Quiz
2014: Birth Rhythms
2017: Plan B
I have an extensive solo discography available at (concealed information) and I am the A&R of a burgeoning specialty label with a focus on private intelligence at (concealed information) (Poehta is not me - it's all very weird)
closeby? Here's a selection of tutoring ads that you can check out.
Superprof can also suggest computer-aided music lessons to help you.
Learning isn't a problem, music technology lessons for all!
Taking audio engineering lessons has never been easier: you're going to learn new skills.
|at their home||at your home||By webcam|
|1 hour||Not available||Not available||$30|
|5 hours||Not available||Not available||$150|
|10 hours||Not available||Not available||$300|