Artificial Intelligence for Music & Audio: Using AI to Isolate Instruments for Music Transcription @Berklee

Uploaded July 2024 | Updated September 2026, 2 weeks ago

Access Free Music Resources: berkonl.in/3HPNkYL

In this video from Berklee Online’s four-week AI for Music and Audio course, course author Dr. Carlos Arana shares his experience at Hal Leonard Publishing, where he was tasked with transcribing the complete scores of the classic bossa nova album “Getz/Gilberto” by Stan Getz and João Gilberto. Dr. Arana says piecing out all of the instruments, when the only tools at his disposal were a record player and the record itself, was quite an undertaking. Since the experience made him listen to each track of the record so many times and with so much intention, he found he had very little interest in listening to that album again for many years later. But this anecdote comes from a different era, he says, and nowadays we have an array of tools that can help musicians with these more automated, “pause and start over” types of processes. Instead of working extra hard to make sure whether a note is being played by an alto sax opposed to a tenor, AI tools can make it possible to separate the stems of a song, so you can listen more easily to each instrument with intention and clarity. You can even use tools that can transcribe the stems to MIDI, which you can later copy into a notation software.

Learn more about this course: berkonl.in/4d5QzYN

ABOUT CARLOS ARANA:
Dr. Carlos Arana is a guitarist, producer, and researcher. His specialties range from Latin American rhythms to the application of machine learning and artificial intelligence techniques for music. As a guitarist, arranger, and musical director he has worked and recorded with artists from all over the world, including legendary Bossa Nova singer Maria Creuza, whose band he was a member of. He has edited a number of books for Hal Leonard and Warner Bros. Publications (Alfred Publications), and for his studies and research on machine learning and AI he has been invited as a speaker in congresses and seminars at some of the most prestigious technology universities, such as MIT and UC Berkeley. Dr. Arana earned his PhD from University of Buenos Aires (UBA-UNLZ) in 2022.

About Berklee Online:
Founded in 2002, Berklee Online is the premier innovator and largest provider of worldwide music education, offering the renowned curriculum of Berklee College of Music at a fraction of the cost through award-winning programming and instruction. Contact an Academic Advisor today:
1-866-BERKLEE (US)
1-617-747-2146 (international callers)
advisors@online.berklee.edu

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AI for Music and Audio | Artificial Intelligence | Transcription | Hal Leonard Publishing | Stan Getz | João Gilberto | Dr. Carlos Arana | Maria Creuza | University of Buenos Aires

$Artificial Intelligence for Music & Audio: Using AI to Isolate Instruments for Music Transcription Access Free Music Resources: https://berkonl.in/3HPNkYL In this video from Berklee Online’s four-week AI for Music and Audio course, course author Dr. Carlos Arana shares his experience at Hal Leonard Publishing, where he was tasked with transcribing the complete scores of the classic bossa nova album “Getz/Gilberto” by Stan Getz and João Gilberto. Dr. Arana says piecing out all of the instruments, when the only tools at his disposal were a record player and the record itself, was quite an undertaking. Since the experience made him listen to each track of the record so many times and with so much intention, he found he had very little interest in listening to that album again for many years later. But this anecdote comes from a different era, he says, and nowadays we have an array of tools that can help musicians with these more automated, “pause and start over” types of processes. Instead of working extra hard to make sure whether a note is being played by an alto sax opposed to a tenor, AI tools can make it possible to separate the stems of a song, so you can listen more easily to each instrument with intention and clarity. You can even use tools that can transcribe the stems to MIDI, which you can later copy into a notation software. Learn more about this course: https://berkonl.in/4d5QzYN ABOUT CARLOS ARANA: Dr. Carlos Arana is a guitarist, producer, and researcher. His specialties range from Latin American rhythms to the application of machine learning and artificial intelligence techniques for music. As a guitarist, arranger, and musical director he has worked and recorded with artists from all over the world, including legendary Bossa Nova singer Maria Creuza, whose band he was a member of. He has edited a number of books for Hal Leonard and Warner Bros. Publications (Alfred Publications), and for his studies and research on machine learning and AI he has been invited as a speaker in congresses and seminars at some of the most prestigious technology universities, such as MIT and UC Berkeley. Dr. Arana earned his PhD from University of Buenos Aires (UBA-UNLZ) in 2022. About Berklee Online: Founded in 2002, Berklee Online is the premier innovator and largest provider of worldwide music education, offering the renowned curriculum of Berklee College of Music at a fraction of the cost through award-winning programming and instruction. Contact an Academic Advisor today: 1-866-BERKLEE (US) 1-617-747-2146 (international callers) advisors@online.berklee.edu http://www.facebook.com/BerkleeOnline http://www.instagram.com/berkleeonline/ https://www.linkedin.com/company/berkleeonline https://www.tiktok.com/@berkleeonline AI for Music and Audio | Artificial Intelligence | Transcription | Hal Leonard Publishing | Stan Getz | João Gilberto | Dr. Carlos Arana | Maria Creuza | University of Buenos Aires$ $Home Studio Music Production: Equalizing a Vocal Track in Pro Tools | Berklee | Bora Uslusoy 20/23 Download Your Free Music Production Handbook Now: https://berkonl.in/3JBxeTK Study Music Production Online with Berklee: https://berkonl.in/3DEnKDE In this video series, Home Studio Music Production, Berklee Online instructor Bora Uslusoy provides helpful insights regarding music production in the home studios by showing you how to use a DAW, audio interfaces, MIDI, pad controllers, and other recording equipment. This 23-video course (which also features special guest Alper Tuzcu) delves into the process of pre-production and production of a song, paying close attention to its structure, elements, and managing your DAW. When you first begin work on a song, it is important to think about duration, number of bars per section, repetition, and the possible modification of tempo and key. As you go from the preproduction process to the production process you’ll want to make sure your song has enough contrast in the melody, harmony, and rhythm. Uslusoy further explains how to use multiple features inside Pro Tools to program drum sets and bass parts and use MIDI pads to ensure a smooth production process. This course also gives you an overview on how to execute vocal comping, manually editing pads, quantizing notes, using parametric EQ band to adjust frequencies, and applying different reverb plug-ins to add special effects to your tracks. Lastly, you will learn how to effectively implement dynamic processors to adjust loudness in both MIDI and audio tracks in order to produce a mixed and mastered song in your home studio. Watch All of the Videos in This Series: https://berkonl.in/4hcE2pb ABOUT BORA USLUSOY: Bora Uslusoy is an associate professor at Berklee College of Music in the Music Production and Engineering Department as well as a member of the Audio Engineering Society. He also teaches the Writer, Engineer, Producer in the Home Studio course at Berklee Online, which he wrote, and Pro Tools 101. He has worked with Lawrence Watson, Tom Appleman, Mel Gabbitas, and many others. He has published five instructional books on guitar and bass in Turkish, and has written magazine articles, product reviews, and how-to guides. About Berklee Online: Founded in 2002, Berklee Online is the premier innovator and largest provider of worldwide music education, offering the renowned curriculum of Berklee College of Music at a fraction of the cost through award-winning programming and instruction. Contact an Academic Advisor today: 1-866-BERKLEE (US) 1-617-747-2146 (international callers) advisors@online.berklee.edu http://www.facebook.com/BerkleeOnline http://www.instagram.com/berkleeonline/ https://www.linkedin.com/company/berkleeonline https://www.tiktok.com/@berkleeonline Home Studio | Music Production | Pre-production | Pro Tools 101 | Bora Uslusoy | Alper Tuzcu | Song Duration | Song Structure | Song Timing | Meter | Repetition | Verse | Prechorus | Chorus | Lyrics | Storytelling | Education | Music Composition | Lawrence Watson | Tom Appleman | Mel Gabbitas | Berklee Online$

Piano Techniques for Modern Music: I Wrist Technique | Zahili Gonzalez Zamora | Berklee Online 15/26

$Music Notation and Score Preparation Using Dorico Pro: How to Adjust Global Layout Settings Download Your Free Music Theory Handbook: https://berkonl.in/40qs0jB Study Music Theory Online with Berklee: https://berkonl.in/3YimTjJ In this video from Music Notation and Score Preparation Using Dorico Pro—a Berklee Online course co-written with Vincent Leonard—Tom Rudolph demonstrates how to adjust global settings in Dorico using Layout Options from the menu bar. He shows how to use Page Setup to change the distance between the top and bottom lines of the staff, then use the search field to type “Casting” and set a fixed number of bars per system. By selecting Note Spacing, you can change the spacing between notes, and by selecting Vertical Spacing, you can adjust the spacing between systems. To create a frame for text boxes, switch to Engrave mode, open the Frames panel, and use the cursor to select the text box you want to frame. Learn more about this course: https://berkonl.in/47NO6CF ABOUT VINCENT LEONARD: Vincent A. Leonard, Jr. is a versatile producer, composer, and orchestrator whose works have premiered both nationally and internationally. His compositional credits span film, radio, television, and stage. These include the feature film “Running on Empty Dreams,” music for the “Captain Courteous” radio series, and theme and event music for TUTV (Temple University Television). He has written extensively for theater and corporate media, and has orchestrated world premiere productions including “Redwall” (Opera Delaware) and “The Little Princess” (Upper Darby Summer Stage). Leonard is also recognized for his work as a copyist/engraver and arranger, having collaborated with artists and ensembles such as Peter Nero, the Philly Pops Orchestra, the No-Name Pops Orchestra, Doc Severinsen, the London Symphony Orchestra, Chuck Mangione, Jeff Tyzik, Leslie Burrs, and on musicals by Duke Ellington, Alan Menken, Kurt Weill, and Mitch Leigh. ABOUT TOM RUDOLPH Dr. Tom Rudolph is an adjunct instructor for Berklee Online, the University of the Arts, Central Connecticut State University, VanderCook MECA, and the Rutgers Mason Gross School of Music. He has authored multiple online courses in music technology and music history. His books include: “The Musical iPad,” “The iPad in the Music Studio,” “Finale: An Easy Guide to Music Notation” (Third Edition), “Sibelius: A Comprehensive Guide to Sibelius Music Notation Software” (Second Edition), “Teaching Music with Technology” (Second Edition), “Recording in the Digital World,” “YouTube in Music Education,” and “Finding Funds for Music Technology.” He was also one of four co-authors of the TIME publication, “Technology Strategies for Music Education.” He has published many articles on music technology that have appeared in the Music Educators Journal, The Instrumentalist, and DownBeat magazine. In addition to his work in music technology, Dr. Rudolph is a trumpet performer in the Philadelphia area and performs with a group called Gaudeamus. His compositions and arrangements have been published by Neil Kjos and Northeastern Music Publications, Inc. About Berklee Online: Founded in 2002, Berklee Online is the premier innovator and largest provider of worldwide music education, offering the renowned curriculum of Berklee College of Music at a fraction of the cost through award-winning programming and instruction. Contact an Academic Advisor today: 1-866-BERKLEE (US) 1-617-747-2146 (international callers) advisors@online.berklee.edu http://www.facebook.com/BerkleeOnline http://www.instagram.com/berkleeonline/ https://www.linkedin.com/company/berkleeonline https://www.tiktok.com/@berkleeonline Music Notation | Score Preparation | Dorico Pro | Vincent A. Leonard, Jr. | Dr. Tom Rudolph | Score | Finale | Sibelius | Notion | and Dorico | Doc Severinsen | London Symphony Orchestra | Chuck Mangione | Jeff Tyzik | Leslie Burrs | Duke Ellington | Alan Menken | Kurt Weill | Mitch Leigh | Neil Kjos$ $Music & Neuroscience: How Rhythm Guides the Brain (Lesson 2) | Susan Rogers | Berklee Online 9/26 Access Free Music Resources: https://berkonl.in/3HPNkYL In these lessons from Berklee Online’s Music and Neuroscience course, Susan Rogers explores how your brain processes music—and why it sparks powerful emotional responses. By understanding how music evokes emotion, musicians can connect more meaningfully with their audience while also enriching their own appreciation of the craft. Our brains have different structures that receive signals from the nervous system, identifying speech, sound, and rhythm. Rogers explains how when we sing or listen to a song we like, the chemical reactions in our brain release dopamine, encouraging us to keep listening. The 26 videos of this course reveal why we like certain songs by analyzing perception across musicians and non-musicians, cultural influences, metrical structures, and tonality. All of these factors show that every emotional response is unique, as it also depends on internal and external conditions such as when (and with whom!) you are listening. Rogers tells musicians that our nervous system enjoys a balance between familiarity and novelty, explaining that pop music and hit songs tend to be liked the most because they generally contain a familiar aspect along with an innovative element. Music not only causes emotional reactions, but also automatic physiological responses such as chills, which are often correlated with unexpected elements inside a song. Rogers says that we are most likely to like a song when it meets our expectations, as our brains like to anticipate melodies or rhythms based on our memory of past songs. When we like a song, our brain creates a template of the type of music we tend to like, which we remember each time we listen to something new. This course emphasizes that music is used for bonding and can be an identification of culture and identity, providing a sense of belonging. With these teachings, Rogers hopes to help musicians deepen their appreciation for music and inspire them to innovate. Watch All of the Videos in This Series: https://berkonl.in/3UBLBMh ABOUT SUSAN ROGERS: Susan Rogers holds a Doctorate in Psychology from McGill University (2010), where she studied music cognition and psychoacoustics under researchers Daniel Levitin and Stephen McAdams. Her research focuses on auditory memory, the perception of musical signals, and the influence of musical training on auditory development. For two decades prior to her science career, Susan was one of the world’s few women known for her work as a record producer, engineer, mixer, and audio electronics technician. Career highlights include five years (1983-1987) as staff engineer for Prince, producing hit singles for diverse artists such as Barenaked Ladies, David Byrne, Robben Ford, Jeff Black, and Rusted Root, mixing hit singles for an equally eclectic list including Tricky, Michael Penn, Toad the Wet Sprocket, and Tevin Campbell, and engineering for a host more. Susan is a professor at Berklee College of Music in the departments of Music Production & Engineering and Liberal Arts, and is the director of the Berklee Music Perception and Cognition Laboratory. In 2012, she was awarded the Distinguished Faculty Award, Professional Writing and Music Technology Division. In tandem with business partner and former student Matthew McArthur (Berklee ’10), Susan launched Boston’s first not-for-profit recording studio, The Record Company, to offer low-cost recording facilities to area musicians and free music technology instruction to area teens. About Berklee Online: Founded in 2002, Berklee Online is the premier innovator and largest provider of worldwide music education, offering the renowned curriculum of Berklee College of Music at a fraction of the cost through award-winning programming and instruction. Contact an Academic Advisor today: 1-866-BERKLEE (US) 1-617-747-2146 (international callers) advisors@online.berklee.edu http://www.facebook.com/BerkleeOnline http://www.instagram.com/berkleeonline/ https://www.linkedin.com/company/berkleeonline https://www.tiktok.com/@berkleeonline Music and Neuroscience | Musical Taste | Dopamine Reward System | Anhedonia | Emotional Responses to Music | Listener Profile | Cultural Differences in Music | Tonality | Metrical Structure | Rhythm and Groove | Prediction and Anticipation | Expectancy Violation | Sad Songs | Reminiscence Bump | Mind Wandering | Default Network | Emotional Contagion | Chills Response | Musical Memory | Familiarity and Novelty | Authenticity in Music | Realism vs. Abstraction | Consonance and Dissonance | Susan Rogers | Berklee Online | Berklee College of Music | Music Perception and Cognition Laboratory | Daniel Levitin | Stephen McAdams | Prince | Barenaked Ladies | David Byrne | Robben Ford | Jeff Black | Rusted Root | Tricky | Michael Penn | Toad the Wet Sprocket | Tevin Campbell | The Record Company | Matthew McArthur$ $Music & Neuroscience: Why Sad Songs Make Us Feel Good (Lesson 3) | Susan Rogers | Berklee 19/26 Access Free Music Resources: https://berkonl.in/3HPNkYL In these lessons from Berklee Online’s Music and Neuroscience course, Susan Rogers explores how your brain processes music—and why it sparks powerful emotional responses. By understanding how music evokes emotion, musicians can connect more meaningfully with their audience while also enriching their own appreciation of the craft. Our brains have different structures that receive signals from the nervous system, identifying speech, sound, and rhythm. Rogers explains how when we sing or listen to a song we like, the chemical reactions in our brain release dopamine, encouraging us to keep listening. The 26 videos of this course reveal why we like certain songs by analyzing perception across musicians and non-musicians, cultural influences, metrical structures, and tonality. All of these factors show that every emotional response is unique, as it also depends on internal and external conditions such as when (and with whom!) you are listening. Rogers tells musicians that our nervous system enjoys a balance between familiarity and novelty, explaining that pop music and hit songs tend to be liked the most because they generally contain a familiar aspect along with an innovative element. Music not only causes emotional reactions, but also automatic physiological responses such as chills, which are often correlated with unexpected elements inside a song. Rogers says that we are most likely to like a song when it meets our expectations, as our brains like to anticipate melodies or rhythms based on our memory of past songs. When we like a song, our brain creates a template of the type of music we tend to like, which we remember each time we listen to something new. This course emphasizes that music is used for bonding and can be an identification of culture and identity, providing a sense of belonging. With these teachings, Rogers hopes to help musicians deepen their appreciation for music and inspire them to innovate. Watch All of the Videos in This Series: https://berkonl.in/3UBLBMh ABOUT SUSAN ROGERS: Susan Rogers holds a Doctorate in Psychology from McGill University (2010), where she studied music cognition and psychoacoustics under researchers Daniel Levitin and Stephen McAdams. Her research focuses on auditory memory, the perception of musical signals, and the influence of musical training on auditory development. For two decades prior to her science career, Susan was one of the world’s few women known for her work as a record producer, engineer, mixer, and audio electronics technician. Career highlights include five years (1983-1987) as staff engineer for Prince, producing hit singles for diverse artists such as Barenaked Ladies, David Byrne, Robben Ford, Jeff Black, and Rusted Root, mixing hit singles for an equally eclectic list including Tricky, Michael Penn, Toad the Wet Sprocket, and Tevin Campbell, and engineering for a host more. Susan is a professor at Berklee College of Music in the departments of Music Production & Engineering and Liberal Arts, and is the director of the Berklee Music Perception and Cognition Laboratory. In 2012, she was awarded the Distinguished Faculty Award, Professional Writing and Music Technology Division. In tandem with business partner and former student Matthew McArthur (Berklee ’10), Susan launched Boston’s first not-for-profit recording studio, The Record Company, to offer low-cost recording facilities to area musicians and free music technology instruction to area teens. About Berklee Online: Founded in 2002, Berklee Online is the premier innovator and largest provider of worldwide music education, offering the renowned curriculum of Berklee College of Music at a fraction of the cost through award-winning programming and instruction. Contact an Academic Advisor today: 1-866-BERKLEE (US) 1-617-747-2146 (international callers) advisors@online.berklee.edu http://www.facebook.com/BerkleeOnline http://www.instagram.com/berkleeonline/ https://www.linkedin.com/company/berkleeonline https://www.tiktok.com/@berkleeonline Music and Neuroscience | Musical Taste | Dopamine Reward System | Anhedonia | Emotional Responses to Music | Listener Profile | Cultural Differences in Music | Tonality | Metrical Structure | Rhythm and Groove | Prediction and Anticipation | Expectancy Violation | Sad Songs | Reminiscence Bump | Mind Wandering | Default Network | Emotional Contagion | Chills Response | Musical Memory | Familiarity and Novelty | Authenticity in Music | Realism vs. Abstraction | Consonance and Dissonance | Susan Rogers | Berklee Online | Berklee College of Music | Music Perception and Cognition Laboratory | Daniel Levitin | Stephen McAdams | Prince | Barenaked Ladies | David Byrne | Robben Ford | Jeff Black | Rusted Root | Tricky | Michael Penn | Toad the Wet Sprocket | Tevin Campbell | The Record Company | Matthew McArthur$ $Final Cut Pro Music Video Editing: Using and Understanding the Interface, Importing, and Trimming Access Free Music Resources: https://berkonl.in/3HPNkYL To start using Final Cut Pro X, you must familiarize yourself with the interface. In this video from Berklee Online’s Music Video Editing with Final Cut Pro course, instructor Mehdi Hassine goes through the basics with you, walking you through importing a multicam musical performance into a project all the way to sharing it on social media. In between these two steps, we get to see labeling, organizing, trimming, creating transitions, choosing active angles, and adding effects. Learn more about this course: https://berkonl.in/4bqSNkE ABOUT MEHDI HASSINE: Mehdi Hassine’s body of work includes trailer mixing and sound editing on “Heima,” a documentary about the band Sigur Rós. He is an active editor and mixer on national television commercials and is also a seasoned video editor, having produced all the video and audio content on many independent music videos and music DVDs for Hal Leonard. Hassine holds a master’s degree in electro-optical engineering from Orsay University and a master’s degree in business administration from Pantheon-Sorbonne University in France. He is also a certified Pro Tools instructor with 10 years of experience in audio engineering, video editing, and motion graphics. His recording engineering credits include Stanley Clarke, Dennis Chambers, Dave Weckl, Gary Willis, and more. He has a parallel career as a performing and recording bass player. About Berklee Online: Founded in 2002, Berklee Online is the premier innovator and largest provider of worldwide music education, offering the renowned curriculum of Berklee College of Music at a fraction of the cost through award-winning programming and instruction. Contact an Academic Advisor today: 1-866-BERKLEE (US) 1-617-747-2146 (international callers) advisors@online.berklee.edu http://www.facebook.com/BerkleeOnline http://www.instagram.com/berkleeonline/ https://www.linkedin.com/company/berkleeonline https://www.tiktok.com/@berkleeonline Music Video Editing with Final Cut Pro | Mehdi Hassin | Sigur Rós | Heima | Stanley Clarke | Dennis Chambers | Dave Weckl | Gary Willis | Saturation | Compound Clip | Libraries Sidebar | Browser | Timeline | Viewer | Toolbar | Berklee Online$ $Business of Songwriting: How to Negotiate Contracts and Advocate for Yourself | Isabeau Miller Download Your Free Songwriting Handbook Now: https://berkonl.in/3wSocKI Earn Your Songwriting Degree Online with Berklee: https://berkonl.in/3wNQbv0 Isabeau Miller explains the importance of self-advocacy when negotiating contracts in this video from the Berklee Online course The Business of Songwriting: Protecting, Marketing and Monetizing Your Craft. “A contract should not feel like it’s a compliment,” says Miller. She emphasizes the importance of understanding your worth as a songwriter, because that’s what allows you to determine whether what a contract is offering will help your career and whether it aligns with your vision. Miller also provides advice on how to evaluate whether a contract supports your long-term goals. By asking yourself whether a company is offering something you cannot already do for yourself, songwriters can be better prepared to make informed decisions in the professional world. Learn more about this course: https://berkonl.in/3SNSqfS ABOUT ISABEAU MILLER: Isabeau Miller is an accomplished songwriter, entrepreneur, published author, and vocalist. For her Business of Songwriting course, Miller draws on her 17 years of experience as a professional songwriter in Nashville, where she penned chart-topping hits with pop and country music artists and producers such as David Archuleta, John K, Cason Cooley, Nate Dodge, Will Champlin, Jamie Kenney, Risa Binder, Morgan Myles, and more. Miller’s catalog, represented by Me Gusta Publishing, spans more than 1,500 songs, and grows by about 100 songs yearly. About Berklee Online: Founded in 2002, Berklee Online is the premier innovator and largest provider of worldwide music education, offering the renowned curriculum of Berklee College of Music at a fraction of the cost through award-winning programming and instruction. Contact an Academic Advisor today: 1-866-BERKLEE (US) 1-617-747-2146 (international callers) advisors@online.berklee.edu http://www.facebook.com/BerkleeOnline http://www.instagram.com/berkleeonline/ https://www.linkedin.com/company/berkleeonline https://www.tiktok.com/@berkleeonline Business of Songwriting | Berklee Online | Music Contracts | Music Business | Isabeu Miller | David Archuleta | John K | Cason Cooley | Nate Dodge | Will Champlin | Jamie Kenney | Risa Binder | Morgan Myles | Music Publishing | Songwriting | Negotiations | Music Publishing Deals$ $Artificial Intelligence for Music & Audio: Jonathan Wyner on Automated Technology for Mastering Access Free Music Resources: https://berkonl.in/3HPNkYL In this video from Berklee Online’s AI for Music and Audio course—authored by Dr. Carlos Arana—we hear from special guest Jonathan Wyner, who discusses how his career in mastering informs how he engages with new technologies, specifically artificial intelligence. He says that when using AI for mastering we should start by thinking about the tools we’re using to automate or assist in the mastering process as just that; automating or assisting. He stresses that for the music professional, the idea of automation can feel constraining: We need to be able to finesse the result. Wyner also advises that when you’re mastering something on your own, you should feed the audio into AI systems to assess your own personal response to the computer’s take. Maybe there’s something you can learn from how the AI version sounds. Or maybe you just want to make sure you’re happier with your own work than what a computer can do! Wyner then shares an anecdote about how human sensitivity, acuity, and decision-making are still hard for AI to preserve. The pitfall in automation, he says, is when we simply accept the result and assume it’s fine. Because if it’s not fine with you, then it’s not fine! Learn more about this course: https://berkonl.in/4d5QzYN ABOUT CARLOS ARANA: Dr. Carlos Arana is a guitarist, producer, and researcher. His specialties range from Latin American rhythms to the application of machine learning and artificial intelligence techniques for music. As a guitarist, arranger, and musical director he has worked and recorded with artists from all over the world, including legendary Bossa Nova singer Maria Creuza, whose band he was a member of. He has edited a number of books for Hal Leonard and Warner Bros. Publications (Alfred Publications), and for his studies and research on machine learning and AI he has been invited as a speaker in congresses and seminars at some of the most prestigious technology universities, such as MIT and UC Berkeley. Dr. Arana earned his PhD from University of Buenos Aires (UBA-UNLZ) in 2022. ABOUT JONATHAN WYNER: Jonathan Wyner is an associate professor in the Music Production and Engineering department at Berklee College of Music and owner of M Works Mastering Studios in Cambridge, Massachusetts. Throughout his career, he has worked with artists both well-known and more esoteric, including James Taylor, David Bowie, Aerosmith, Kiri Te Kanawa, Pink Floyd, Cream, Richard Stoltzman, Miles Davis, Nirvana, Aimee Mann, Juliana Hatfield, Tiny Tim, Snakefinger, John Cage, and Rahsaan Roland Kirk. About Berklee Online: Founded in 2002, Berklee Online is the premier innovator and largest provider of worldwide music education, offering the renowned curriculum of Berklee College of Music at a fraction of the cost through award-winning programming and instruction. Contact an Academic Advisor today: 1-866-BERKLEE (US) 1-617-747-2146 (international callers) advisors@online.berklee.edu http://www.facebook.com/BerkleeOnline http://www.instagram.com/berkleeonline/ https://www.linkedin.com/company/berkleeonline https://www.tiktok.com/@berkleeonline AI for Music and Audio | Artificial Intelligence | Dr. Carlos Arana | Maria Creuza | University of Buenos Aires | Jonathan Wyner | James Taylor | David Bowie | Aerosmith | Kiri Te Kanawa | Pink Floyd | Cream | Richard Stoltzman | Miles Davis | Nirvana | Aimee Mann | Juliana Hatfield | Tiny Tim | Snakefinger | John Cage | Rahsaan Roland Kirk$ $Digital Storytelling: The Prototype Mindset & Design Thinking | Lori Landay | Berklee Online Access Free Music Resources: https://berkonl.in/3HPNkYL In this video from Berklee Online’s Digital Storytelling course, instructor Lori Landay explains the importance of having a prototyping mindset when approaching a creative process. According to Landay, when designing new media fields, a prototype can be seen as a “model or mock-up used to test ideas before you’ve created the final version.” This process will help you organize your ideas before creating new media. Prototyping is part of the “Design Thinking” process which is considered an approach towards innovation and problem-solving. This process involves a set of steps that focuses on different aspects such as empathy, definition, brainstorming, prototyping, and feedback, which allows us to identify problems within our society to create an effective solution. Landay explains how prototyping is a way you can test the effectiveness of your ideas by gaining feedback on the strengths and weaknesses of your model. Landay emphasizes that creating a prototype first supports a smooth creative process because it is easier to change a prototype rather than the final draft of a project. You can have multiple prototypes as you test different variations of your initial idea and change certain aspects in accordance to past prototype feedback. Lastly, Landay explains how prototyping is part of an “iterative cycle” and once you have your final project, you can step out of that cycle and provide others with a well-functioning final outcome. Having a prototyping mindset is a great strategy to avoid perfectionism as it allows us to be curious and open-minded in order to try new things. Learn more about this course: https://berkonl.in/47HvQsN ABOUT LORI LANDAY: Lori Landay is a professor of cultural studies at Berklee College of Music and an interdisciplinary scholar and new media artist exploring the making of visual meaning in twentieth- and twenty-first-century culture. She is the author of two books, the TV Milestone Series installment of “I Love Lucy” and “Madcaps, Screwballs, and Con Women: The Female Trickster in American Culture,” in addition to articles on topics such as virtual worlds, digital narrative, silent film, and television culture. Her creative work includes animation, graphic design, creative documentary, machinima, interactive virtual art installations, and music video. Landay has been awarded the Dean’s Award for Excellence in the Professional Education Division at Berklee College of Music, a Newbury Comics Faculty Fellowship, and a National Endowment for the Humanities Enduring Questions Grant. She has consulted on and appeared in “Finding Lucy,” an American Masters documentary airing nationally on PBS and internationally. Landay holds a bachelor’s degree from Colby College, master’s degrees in American Studies and English from Boston College and Indiana University, respectively, and a doctoral degree in English and American Studies from Indiana University. About Berklee Online: Founded in 2002, Berklee Online is the premier innovator and largest provider of worldwide music education, offering the renowned curriculum of Berklee College of Music at a fraction of the cost through award-winning programming and instruction. Contact an Academic Advisor today: 1-866-BERKLEE (US) 1-617-747-2146 (international callers) advisors@online.berklee.edu http://www.facebook.com/BerkleeOnline http://www.instagram.com/berkleeonline/ https://www.linkedin.com/company/berkleeonline https://www.tiktok.com/@berkleeonline Digital Storytelling | Prototyping | Video | Filming | Lori Landay | Lucille Ball$ $Ableton Live MIDI Transform Tools: Recombine | Music Production | Berklee Online | Erin Barra Download Your Free Music Production Handbook Now: https://berkonl.in/3JBxeTK Earn Your Music Production Degree Online with Berklee: https://berkonl.in/3DEnKDE In this video from Berklee Online’s Ableton Live Fundamentals course, author Erin Barra walks you through the recombine tool. In Ableton Live you have an array of what are called MIDI transform tools, which (wait for it) transform your MIDI tracks. These tools include “ornament,” “recombine,” and “time warp.” Let’s finish off this exploration up with the recombine tool. This is a great tool to use if you have a basic idea but want some different iterations. Using this tool will shuffle your MIDI notes around, and—just like the time warp tool—you can either do this to an entire track, or just to a specific section of a melody or groove. You can filter the tool so that it only changes your velocity, while keeping pitch and length the same. Or vice versa. It’s a great way to find variations to any of your creations! Learn more about this course: https://berkonl.in/3LAUm4I ABOUT ERIN BARRA: Erin Barra is an educator, songwriter, producer, multi-instrumentalist, and music technology consultant. She is an associate professor in the Songwriting department at Berklee College of Music and is one of the leading product specialists for Ableton. She works with artists and bands looking to integrate laptops and digital technologies into their writing, production, and stage setups, and has developed and taught several music technology curriculums. About Berklee Online: Founded in 2002, Berklee Online is the premier innovator and largest provider of worldwide music education, offering the renowned curriculum of Berklee College of Music at a fraction of the cost through award-winning programming and instruction. Contact an Academic Advisor today: 1-866-BERKLEE (US) 1-617-747-2146 (international callers) advisors@online.berklee.edu http://www.facebook.com/BerkleeOnline http://www.instagram.com/berkleeonline/ https://www.linkedin.com/company/berkleeonline https://www.tiktok.com/@berkleeonline Ableton Live | Music Production | MIDI Transform Tools | Recombine | Ableton Tips | Erin Barra | Music Producer | Recording Techniques | Audio Editing | Berklee Online$ $Camila Mora Interview | Keyboards for Live Performance | Berklee Online | Adriana Balic Download Your Free Piano Handbook Now: https://berkonl.in/3DBqBNx Study Piano Online with Berklee: https://berkonl.in/3JCFsLy Camila Mora has played with Hayley Kiyoko, Ashe, FINNEAS, Broods, Julia Michaels, Lorde, and Olivia Rodrigo. In this interview with Adriana Balic, for her Berklee Online course, Keyboards for Live Performance: Techniques and Technology, Mora discusses getting her first touring gig right between her junior and senior year at the University of Southern California Thornton School’s Popular Music program. Incidentally, that school is where she met Adriana Balic, when Mora was a student in Balic’s keyboard proficiency class. Balic recounts: “She graduated in 2017, and two years later she was playing keys and singing background in Julia Michaels’s band, who was opening for P!NKs Beautiful Trauma tour, where I was playing in P!NKs band on keys! She went from student to tour mate.” Learn more about this course: https://berkonl.in/48JMckx ABOUT ADRIANA BALIC: Adriana Balic has toured the world as a member of popstar P!NK’s band since 2003, on keys, backing vocals, and guitar. In November 2019, Balic completed P!NK’s Beautiful Trauma World Tour, which broke records, playing to more than 3 million people and making it the 10th highest grossing tour in Billboard Boxscore’s history. Balic’s media credits include “Saturday Night Live,” Apple Music, “Top of the Pops,” iHeartRadio Live, and “American Idol.” Other artists Balic has played with include Gwen Stefani, Wrabel, Sheila E., Brenda Russell, Chris Stapleton, Peabo Bryson, and the US National Touring Theater Production of “Jersey Boys.” She plays Roland keyboards and is a Roland Artist. She has been on faculty at Berklee Online as the Pop/Rock Vocals instructor since 2010. About Berklee Online: Founded in 2002, Berklee Online is the premier innovator and largest provider of worldwide music education, offering the renowned curriculum of Berklee College of Music at a fraction of the cost through award-winning programming and instruction. Contact an Academic Advisor today: 1-866-BERKLEE (US) 1-617-747-2146 (international callers) advisors@online.berklee.edu http://www.facebook.com/BerkleeOnline http://www.instagram.com/berkleeonline/ https://www.linkedin.com/company/berkleeonline https://www.tiktok.com/@berkleeonline Camila Mora | Hayley Kiyoko | Ashe | FINNEAS | Broods | Julia Michaels | Lorde | Olivia Rodrigo | University of Southern California’s Thornton School of Music | Keyboards for Live Performance | Adriana Balic | Pink | P!NK | Gwen Stefani | Wrabel | Brenda Russell | Chris Stapleton | Jersey Boys | Berklee Online | Berklee College of Music$