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11 Days In: What I've (re)Learned about Pickup

I've just completed my eleventh day of my thirty day get-back-into-pickup challenge. No... I'm not going to beat myself up this time-- I'm going to talk about what I've (re)learned over this week and a half.

The interesting aspect to this whole process is that I'm not actually learning anything new. I've been through this before. But there's a difference between knowing that something is true, and actually knowing something to such a degree that your actions are guided by it. Following are some ideas that have begun to take hold.

The most important part of pickup is getting out there and doing it. Yesterday I had a headache and was underslept. I really didn't want to go out. But the idea of not going out every single day this month is inconceivable at this point, so I went anyway. And, of course, I was glad I went.

Music, Tech and the Future

On Ryan

Music, as a manmade phenomena, goes back at least thousands and thousands of years to when we've found artifacts of the first flutes and drums. Music has always been a community affair–something done in groups to help bring people together. Funny that now I've been working on music alone in my apartment the last few weeks. (NOTE: I'm a composer and musician myself, and it seems more and more the life of a composer looks more and more like the life of a hermit. But I also have this connection to the group aspect of music. I'm a drummer, and nothing gets me going more than playing drums with others. It's a blast.)

The last hundred years or so has changed almost everything about human society. Music could be recorded and enjoyed at any convenient time in any convenient location–not just the concert hall, the bar or the living room around the family piano. To hear great music you didn't have to be a great musician or have one in the family. This accessibility raised the overall level of “quality” and “musicianship” all over the civilized globe–students had access to better resources and tools and themselves became better musicians than those that came before. This cycle continues to this day where kids using a sequencer can make professional-quality sounds that would've taken weeks to create in a high-end studio twenty years ago. I mean, yeah, the sounds won't necessarily be as “warm” or “mature” sounding, but kids today (me included) are easily making lots of sounds that producers struggled to make (or didn't even dream of making) in the 80s and 90s.

As a product of this wave of technological accessibility, I am of course in favor of all these developments. It's a good thing that great music can be accessed so easily and so cheaply using services like Spotify, rdio, Pandora, iTunes (and BitTorrent). It's a great thing that people with no musical training or background can pick up iPads and start jamming together using scale-locked touchpad interfaces. It encourages people to learn and experiment with music, advancing sounds forward and making music a more easily enjoyable part of life. It's how I discovered the fun and joy that comes from listening to and creating music as I was growing up.

On the flip side, now that I'm joining this force of professional music-makers, I have my well-being to worry about. I want to make music for a living, but how can I make a living doing something I believe should be intrinsically free and open? Should I do gigs for free and sell advertising space to put in the lulls between songs? Should I preface each new track I make with announcements like, “this track was made using Spectrasonics software?”

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