Alan Anderson, Lecturer, Music Department, University of Otago , Dunedin , New Zealand alan.anderson@stonebow.otago.ac.nz
Allan Ellis, Associate Professor, School of Social Sciences , Southern Cross University, Lismore , Australia aellis@scu.edu.au
Recent advances in desktop computers, digital audio technology and the World Wide Web have provided the contemporary musician with unprecedented power to take control of the production and distribution of their music. The degree of empowerment, however, will depend on the individual's know-how and ability to exploit these technologies.
Music technology courses can help to get students underway in developing practical, theoretical and creative skills in this new era. In the context of university-based music technology courses and informed by analysis of student feedback, Web-based forums and discussions with music staff it is recommend that: students be taught sophisticated Web search skills, the procedures and protocols for participating in Web-based forums, the skills to evaluate the quality of Web-based resources and how to index and archive electronic resources. Collectively these skills will ensure the growth of a strong and diverse community of practice in the field of Music Production on the World Wide Web.
Although the physical layout of the professional studio has not changed a lot in several decades, there has been a significant change from analogue recording on magnetic tape to digital hard disc recording using personal computers and music sequencing software/hardware interfaces. Digidesign’s ProTools™[HREF1], for instance, is one of the best-known and widely used in the professional recording industry.
Initially, the cost of such interfaces was in the tens of thousands of dollars and therefore seen as beyond the budget of the average working musician much less the enthusiastic amateur. Recently, however, Digidesign and a host of their competitors have started to produce a range of mid-level, domestic consumer priced software/hardware interfaces for around AUD$1000, and much less in the case of many entry-level systems. Meanwhile, plug-in technology has advanced to a stage whereby the need for enormous racks of outboard effects hardware, which have been a prominent feature of the professional studio over several decades, has been significantly reduced (Senior, 2003). Used in conjunction with a powerful desktop computer and USB/MIDI interface musical instruments, these plug-ins and analogue/digital interfaces provide the user with a host of music production capabilities that rival those of the larger professional studio.
Indeed, in the introduction to the manual for their popular music sequencing software, “Logic Pro 7 ™” [HREF2] Apple (2004, p. 5) suggest music projects that until recently would have required a range of expensive professional studio hardware can now be completed using a personal computer as a workstation for recording, arranging and mixing. In fact, the quality of a music recording, especially one that involves the recording of ‘real’ audio signal from acoustic and electric instruments is dependent on many factors such as the quality of microphones, preamps and of course the acoustics of the environment in which the sound is recorded. Moreover, the number and type of hardware inputs and outputs has implications for simultaneous recording of signal from a number of microphones and instruments. These limitations aside, however, it is difficult to argue with Apple’s (2004, p. 5) statement that “recent years have seen a revolution in the use of personal computers for creating music.”
Record companies have been quick to realise the cost-saving potential of this technology that allows artists they sign to develop and refine their ideas before entering the professional studio environment, which charge high hourly rates . Consequently, it is not uncommon for artists nowadays to be given an advance to make a demo and possibly a complete album using a digital audio workstation in their home studio. Although the services of a professional audio engineer and/or producer are often called upon to complete the final mix and mastering process using high-end professional equipment and software, the power and convenience of Digital Audio Workstation (DAW) technology has indeed empowered musicians to take more control of the pre-production and post-production of their music. As alluded to previously, taking full advantage of this opportunity means learning to bridge the roles of audio engineer, producer and session musician. Although this task is made easier nowadays in terms of the cost, availability and usability of suitable equipment, acquiring some of the tacit knowledge ‘trade secrets’ to use it effectively requires a level of immersion with one’s peers and ongoing learning support long after that introductory course, “Music Technology 1,” for want of a name, is completed. Music Technology communities of practice on the Web can provide such support.
Interestingly, while the challenge of increasing interaction and engagement in the context of Web-based courses is a subject that resurfaces periodically in Web-based learning literature ( O'Reilly & Morgan, 1999; Sringam & Greer, 2000; Anderson & Ellis, 2003; Rowe, 2003; Albion & Ertmer, 2004), the present study found some evidence to suggest that new and experienced users of music technology need little encouragement to interact and engage with the subject matter of open Web-based forums in their field. However enthusiasm is no substitute for knowledge about accepted procedures and protocols for participation in and the management of Webbased forums. Salmon (2002, p.1) concludes that opportunities for reflection on practice “need to be built into the design” of Web-based forums and that a trained e-moderator should act as a catalyst in fostering such reflection. In light of Salmon, it is worth examining examples of interaction and dialogue between the administrators and participants of open Music Technology forums on the Web (figure 4) , to look for evidence of effective facilitation and learning through critical reflection on practice. Ho (2002) provides a similarly useful point of reference, through an excellent review of student participation in online discussion and her conclusions are likewise applicable to the field of Music Education.
A variety of approaches and channels were used to collect data relevant to the study:
The essay component, of this otherwise practical skills-based course, was designed with several purposes in mind: a) to help students become critical consumers of music technology with a capacity to critically evaluate technical data and the hyperbole in advertising literature; b) to help students learn the strengths and limitations of personal computer-based DAW technology in relation to older and new professional studio equipment and software; c) to raise students’ awareness of how Web-based resources and communication forums could be used to support their learning in the short-term and the long-term. During a lecture, one week before the submission of their essay, students were asked to rank (from 1-6) the following sources/medium for obtaining information in terms of usefulness for completing their essay assignment: The DAW revolution. The higher the score the more useful the student rated the particular source or medium, i.e. 6 = most useful. The results of the survey are shown in figure 1.
Student |
Books |
Journals |
Web |
Web |
Pop |
Other |
| 1. | 5 |
2 |
1 |
4 |
3 |
6 |
| 1. | 1 |
2 |
3 |
6 |
5 |
4 |
| 1. | 4 |
5 |
1 |
2 |
3 |
6 |
| 1. | 3 |
2 |
5 |
6 |
4 |
1 |
| 1. | 1 |
3 |
5 |
6 |
2 |
4 |
| 1. | 4 |
3 |
5 |
6 |
5 |
1 |
| 1. | 2 |
3 |
5 |
4 |
1 |
6 |
| 1. | 5 |
5 |
2 |
6 |
4 |
6 |
| 1. | 4 |
5 |
2 |
1 |
3 |
1 |
| 1. | 4 |
3 |
2 |
5 |
6 |
1 |
| 1. | 2 |
3 |
5 |
1 |
3 |
4 |
| 1. | 2 |
4 |
5 |
2 |
6 |
3 |
| 1. | 5 |
4 |
1 |
2 |
3 |
6 |
| 1. | 4 |
3 |
2 |
5 |
6 |
1 |
| 1. | 6 |
3 |
4 |
5 |
2 |
1 |
| 1. | 2 |
1 |
3 |
5 |
4 |
6 |
| 1. | 2 |
1 |
4 |
5 |
3 |
6 |
| 1. | 6 |
2 |
3 |
4 |
1 |
5 |
| 1. | 6 |
1 |
3 |
4 |
5 |
2 |
| 1. | 2 |
1 |
4 |
6 |
5 |
3 |
| 1. | 1 |
3 |
2 |
5 |
6 |
4 |
TOTALS |
73 |
59 |
68 |
90 |
80 |
75 |
Figure 1. Survey data showing which source/medium students perceived to be most useful in preparing to construct their essay: The DAW Revolution.
Note that Web articles rated the highest overall. Meanwhile Web-based forums rated unexpectedly high given that students would have known forums are not intended to be taken as an authoritative source and supporting evidence for their essays. Discussions with students revealed that some found the Web-based forums useful to learn the terminology (through discussion in plain language) and how to use and evaluate different music technologies and related computer interface hardware and software.
Students were asked to describe “other” resources they had used and the handful that did so described sources such as their “own personal library of books, magazines and in several cases DVD and VHS video. Students were also asked to include a brief comment on why particular sources and/or mediums proved more useful than others and typical responses were as follows:
“Internet is fast. Can easily cut and copy the bits of info you want. Very large amount of info available from this source.”
“Web - up to date – latest news – easy to find”
“Ease of finding stuff [on the Web].”
“Internet [Web] – more info”
“Web articles and forums - others [sources] not as recent or interesting”
“I was unable to find any useful information in the University library (in the form of books, journals, magazines etc.) therefore the web provided most of my information.”
“Ableton have a good [Web] site full of useful info:
http://www.ableton.com/index.php?main=forum”
The above mentioned transcripts reflect the students’ perceptions about the convenience of the Web more than critical reflection and analysis of the quality and credibility of the information they were able to glean from these sources. Nevertheless, conversations with other Music Technology staff and students before, during and after a number of lectures and tutorials revealed that although these students were not accustomed to Web-based learning as on-campus students, they did find ‘lurking’ (listening in) and in some cases participating in open Music Technology forums on the Web enlightening and useful sources of information for the research they were doing in this subject.
In the following extract from a discussion forum on the Music Technology 2 Blackboard™ site, one student explained how in spite of his initial concerns about exactly what he was looking for and where to find it, things soon fell into place once he began to search the Web.
“The Web is most definitely a great source of information. Because this is still a new and constantly changing industry the web has the best sources of information simply because there is so much of it. At first I wasn’t sure what to look for, but once I started I found everything I needed. I’ve found that journals and textbooks are helpful for information on established studio techniques which DAW’s are based on. Most home-recording websites, though, do have glossary of terms and FAQs.”
The following comments evidence several students’ lack of prior exposure to Web-based learning and Web-based discussion forums.
“The Internet had a wide reach to different articles but I don’t really understand forums”
“I logged on to the site [the Blackboard site for the music technology paper (unit)] but I couldn’t see the lecture notes or anything about the assignment.”
The latter quote was followed by emails from a few more students asking much the same question. This was in spite of having the procedure of accessing the Blackboard site and some links to relevant Web sites and forums demonstrated in an earlier lecture. In follow up discussion it seemed several students were quite unaware that it was necessary to click on the buttons to left of screen, i.e. “course documents” to view and/or download the course documents. This was quickly remedied by an email to all students enrolled in the course with instructions on how to access the site and relevant documents.
It should be noted that the previously mentioned survey of the class was anonymous therefore it was not possible to ascertain whether the less experienced Web-users were among those whom rated books and other alternative sources to the Web higher.
With the benefit of hindsight, it could have been worthwhile to invest more lecture and computer lab/tutorial time in recapping fundamental library and Web search techniques. Ohio State University Libraries provide the following useful diagram (Figure 2) to teach students how to search databases and the Web efficiently and effectively.
Figure 2 Database search diagram (from Ohio State University Libraries, 2003).
Naturally, this approach to searching can just as easily be applied to music or another discipline. To their credit, library courses provided by University library and learning-assistance staff typically encourage students to do some free searching for topics of personal interest to provide a meaningful contextual learning experience. Whether such brief exposure, typically crammed into orientation week for many students, is sufficient, however, is another matter. Library staff may be open to giving students follow-up tutorials or doing a guest spot during a scheduled computer lab/tutorial. On the other hand, an activity like searching the Web for a solution to a technical problem may be better taught by the music technology teacher or lecturer whose specialist knowledge will help students to quickly assess the credibility of the kind of information being retrieved by various search engines and strategies for using them.
Even a random sample of Web-based Music Production Community forums will invariably reveal a range of solutions to technical glitches that the users have encountered. Sometimes these communities become aware of these glitches before the company that produces the product much less the local retailer from whom the user may have purchased the software and/or hardware. Rather than try in vain to cover up or put a lid on such glitches most of the companies concerned have embraced the idea of encouraging stakeholder involvement and giving their clients a sense of ownership in the development and refinement of products. Steinberg™ [HREF4], for instance, provide a Web-based knowledgebase (data base) giving a complete history of “changes and fixes” from the first release of CuBase VST 4.0x™[HREF5] to the present day version of the program. Perhaps most encouraging of all Web-based resources for new users of music technology, however, are the forums which are driven more by the community of users ranging from complete beginners (newbies) to virtual gurus of audio engineering and personal computer-based DAW technology [HREF6][HREF7][HREF8].
In figure 3 it is interesting to note how a “newbie” approaches the forum with a humble tone of communication, possibly expecting an unsympathetic response from more experienced users. In fact, the responses show a certain empathy for the newbie. They are also accurate, informative and replied to within a time frame of 22 minutes.
Figure 3 Sample transcript of a Music Production Community Web-based Forum
Similarly, in figure 4, a “newbie” asks a question about recording from the audio output of a MIDI interface music keyboard versus recording MIDI signal into the DAW based sequencing program. Again the responses are helpful and provide useful and accurate information, notably providing a range of scenarios to help the “newbie” comprehend the pros and cons of working in various ways with the technology.
Figure 4 Web-based Music Technology forum showing support for new users.
One type of post that does tend to invoke a rebuke from users of legitimate music technology forums is the user who asks for advice on obtaining or using “cracked” or “pirated” software. In the following example of postings from a “studio-central.com” forum, a frequent contributor replies to a “newbie” (whom dared to ask about using cracked software) with a firm yet nonetheless informative response. Moments before, the newbie concerned was told to “go away” by the forum administrator.
“Its been stated in many different posts, but here is my recap on why using pirated software is not tolerated here (in no particular order):
Next, one of the forum administrators enters the forum again to reinforce the sentiment expressed in the previously cited post.
Well-stated. I agree with it. It "our" Internet. We paid for it, through taxes, phone bills, and by funding universities. It is "ours". And since there are no regulating authorities, we have to provide our own sense of right and wrong, or the whole thing falls into chaos. The Internet is far too vital to let thieves take it over. Just looking at the number of viruses I have received in the past 2 weeks leads me to think that we are losing the internet to people who put their own selfish gain above the collective good. Email is now totally untrustworthy, possibly ruined. I've gotten 9 viruses in the time it took to write this. It’s a war--To keep something as valuable as global communication. Be on the right side friends [HREF 10].
Clearly, these postings are good examples of the efforts that some regular contributors and administrators of legitimate forums go to in order to maintain the ethical standards and integrity of their music production community on the Web. Naturally, this could also be seen as exemplary role modelling for students of music technology whom teachers may have referred to these forums . Modelling, as noted in Ho’s (2003, p.1) discussion of Bandura’s (1971) ‘social learning theory’, is “the process of observing, formulating an understanding and finally using that understanding as a guide to one's own behaviour.”
In moving from paper-based to Web-based searching students also need to acquire a new set of skills for indexing and archiving. No longer is it necessary to make a paper copy of an article to store in a folder or filing cabinet, in order to be able to be able to "go back" to a previously located item. There are other options. Of course one could still consider printing off paper copies and storing them in the traditional way or alternatively collect the URL of site of the article or make an electronic copy of the article on your hard disk. The latter requires sufficient disk space but provides convenient access to the article when off-line. Having done this, one needs to create an appropriate archival index to retrieve URLs or electronic files. Time invested in setting up a proper indexing system will payoff, as the size and diversity of a users personal database grows. Of course the same can be said for the archiving of digital music. The large volume of sound files that music technology students generate by recording their own audio tracks, creating loops, MIDI files and the like, and downloading music and loop libraries from the Web is likely to require considerable extra hard disk storage space the users that only deal with text. Consequently, the need for an appropriate archival index is amplified.
Digital music production is evolving fast therefore the onus is on teachers of music technology to not only provide students with current technical skills and knowledge, but to teach them how to be able to continuously update their skills and knowledge. In contrast to books and other print-based publications, Web-based resources and forums can provide the most up-to-date information, glossaries and means for new and experienced users to network and keep abreast of the latest technological developments, problems and solutions. However, analogous to using music technology, the ability to tap into all the Web has to offer will depend on the individual's ability to exploit this technology. The authors recommend therefore that music technology courses include a module in which students are taught sophisticated Web search techniques, archiving techniques and skills for participation in forums specific to their area of study. These skills need to be explicitly and ideally taught early in a student’s career (perhaps as a specific module or unit) but certainly have been covered over a series of units by the time the student graduates.
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HREF 1
http://digidesign.com/
HREF 2
http://www.apple.com/logic/
HREF 3
http://www.blackboard.com/
HREF 4
http://www.steinberg.de/
HREF 5
http://www.cubase.com/home/
HREF 6
http://www.tweakheadz.com/tweaking_your_music_computer.html
HREF 7
http://www.ableton.com/
HREF 8
http://www.waves.com/http://emusician.com/daw/emusic_conquering_daw/
HREF 9
http://studio-central.com/phpbb/viewtopic.php?p=24894-24894
Alan Anderson and Allan Ellis © 2005. The authors assigns to Southern Cross University and other educational and non-profit institutions a non-exclusive licence to use this document for personal use and in courses of instruction provided that the article is used in full and this copyright statement is reproduced. The author also grants a non-exclusive licence to Southern Cross University to publish this document in full on the World Wide Web and on CD-ROM and in printed form with the conference papers and for the document to be published on mirrors on the World Wide Web.