Classical Musicians suck at Electronic Music

Ever seen a classical pianist sit down at a synth for the first time and play it like a piano? That was probably me. So, maybe I can explain why electronic music/production is a difficult thing for most classical musicians to approach...or maybe I can't.... Let's find out....

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[JamesonNathanJones]

The number of folks who will comment on a video without watching it is pretty surprising innit?

[PanopticMotion]

Have you noticed how many classical musicians start using those dreamy, new-age synth sounds when they get into electronic music? It's totally cool though, there's nothing wrong with that :)

[robertsyrett]

We all live in brian eno's 1979 dream world of vertically stacked asynchronous loops. It's worth acknowledging that linear composition still has a place in ambient music.

[nkronert]

"How can I activate the reverb on this organ?"

"Put it in a church"

[johnvance]

Gary numan still writes every single song on piano first and then translates it into the industrial sound he gets. I love your videos recently. Keep up the good work. I really appreciate it.

[Dsch]

As a classically trained violinist going to do a degree in electronic music production this is devastating news

[mournblade]

Isoa Tomita did AMAZING realizations of classical music on the synthesizer.

[zachary]

There’s a video of Andrew Huang and Rob Scallion where Andrew introduces Rob (a very skilled guitarist) to his huge modular synth. Over the course of the video, Rob catches hold of this concept. He initially tries to program a chord progression into the synth, which just does not work. Once he embraced the sound design aspect that Andrew was trying to teach him, the creativity and excitement of music make just exploded. It was incredibly fun to watch.

[noisemodule]

get this: I am classically trained in...analogue modular synthesis, composition, 21st c. music history, and theory by a composer who was a contemporary of Schoenberg. (I'm also a certified audio engineer who studied "capital-S" Soundscape, but that's another conversation) ...however many of the excellent points you make, I too have struggled with, despite my training.

in fact, the points you bring up about timbre, complexity, pacing, and space remind me of discourse which was part of my early training in synthesis — such as the early debate between the RDF studios in Paris and the Elektronich school at the WDR in Köln, surrounding recorded sound objects and "purely" electronic sounds, respectively; or the primacy of onset transients, attack phase characteristics, and sympathetic physical resonances in determining the difference between real life instruments, Soundmarks, ambient environmental keynote sounds, or whatever noise you can (literally) imagine. what makes a pizz'ed violin string sound different from plucked acoustic guitar string, or an emergency vehicle siren distinct from a train whistle or car horn, etc.

while the purpose was not explicitly to instruct a 'how to' guide to designing synthetic applications of their real-world acoustic counterparts, the exploration of topics like the acoustic properties of wave propagation physics did help me to view sound design as integral to advanced synthesis techniques and vice versa. it makes sense — after all, in real-world acoustics timbre is inextricably linked to pitch, and vice versa, for just one example, and because the synthesizer's signal must eventually be transduced into the same pressure differentials in the medium of atmosphere in order to be heard, the same thing should be true of such so-called 'synthesized' voices.

[GianmarioScotti]

The music starting at 9:47 is so stunningly beautiful, I went immediately looking for it. And I found it! You are very talented.

[vsevolodalipov]

The background music while he speaks is magnificent, I like how it demonstrates what he's talking about a lot of the time. It's so nice.

[garygimmestad]

Your video resonated with me on many levels. I’m also a classically trained pianist whose career was sidetracked due to arthritis. I could play at a lower technical level in more improvisatory settings. I love jazz but the physical limitations also became profound in that world as well. Arthritis interfered not only with velocity but also with rhythmic articulation. But, still, I’ve had a fun and mostly satisfying career in theater, music directing, arranging and composing, and other musical pursuits. Now in my 70s, I’m drawn to synthesis where limited keyboard technique is not a barrier, and a wildly wide world of sound is available. I haven’t gone Euro but I have a couple of semi-modular Moogs that I love, a Typhon, access to a Microfreak, plus a bunch of software synths. Finally to my point: I struggle with finding my ‘voice’ in synth world partly because of the structure and limitations of sequencing. I’m not drawn to EDM in any serious way. Endless pattern repetition with a 4-on-the-floor kick can actually be fun, but I have other interests. The story you tell about synthesizing (pun intended) your classical bent with sound design encourages me to continue with similar ideas I’ve been experimenting with - writing linearly and contrapuntally and, in my case, incorporating some of the harmonic language of jazz, of Bartok and Prokofiev, of Messiaen’s scales of limited transposition, of Ravel and Debussy, etc. I’ve realized a few turned on Bach pieces which was fun and instructive, but, of course, I want to create my own path. - as you are doing. Thank you for the insight and inspiration! Cheers.

[moderncannibal]

You can't measure passion. You are a great mind and you are so great to get to know. Have you ever played something you never played before and it moved you to tears, or joy, or a color? Imagine the first humans who discovered around a fire the sound of the universe. They had no rules. Love what you are doing. Thanks.

[GabeChurray]

Great video, Jameson! I often have my piano students play their pieces on keyboards using different sounds, and then ask them to try and explain how they might change their playing to better fit the different timbres

[ackzz]

Producing sounds from a synth is truly an art on it’s own, it’s like sculpting clay, you keep shaping it till your pleased with the results. Producing a song from all the different synth sounds is skill on a whole different level, there may aspects and levels of complexity you will need to learn\master from experimenting as you go along or watching video tutorials. Good Luck on your music journey – cheers!

[itsWHOM]

As a former music student, I have felt so much of what you have so eloquently put into words. Also, the music in this is brilliant. You are a god damn genius.

[davidleary]

Hats off to you Jameson.Instead of reeling back into the Classical world = real music, you've learned about the differences and now see the virtues of both .

[eyvindjr]

I am also a classical musician who bought Ableton Live and started working with sound design fairly late. I can absolutely relate to your problems, but as a brass player, we actually have more control over attack, decay vibrato and sound color than on keyed instruments. Working with synths has actually introduced another approach to what the a trombone does and wants to achieve in different contexts!

[rexcellencemagee]

I wish every single person in my life that feels I’m wasting my time and money on what I love to do would watch this awesome insightful video you just created! Thank you!!!

[stefanherzog]

I love your recent videos as they bring AFAIK a unique angle to synth YouTube (synthclassicaltube? classicalsynthstube?)! Please more of this!