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You're listening to the piano part where we talk to the brightest minds in the industry
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about how they're bringing the piano into the 21st century.
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Last time we spoke to music technologist Claire Marie Lim about her creative process and the
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integration of classical foundations with modern genres and technology.
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And now the conclusion.
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How did you learn production?
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Was it through Berkeley?
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Was it YouTube videos?
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Because it's really top notch.
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Yeah.
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Thank you so much, Erie.
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That means a lot.
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I'll be very honest.
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I think I grew the most after I was done with college.
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And I think it's because college gave me a lot of the tools that I had, but it was still,
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it still took me time to learn them.
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I listened back to a lot of the pieces that I made while I was still a college student
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and it's like, yeah, they're okay.
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But you can definitely hear the beginnings of Daltrik trying to poke around and being
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like, what is this doing?
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Which is not to say that I didn't understand things.
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I understood things conceptually.
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This is how this synthesizer works or this is how this compressor works or whatever it
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is.
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This is how that sound engineering type of thing works.
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But being able to just put my nose to the grindstone and work at it, that really came
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after college.
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And I think it was just a lot of practice.
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And actually, this is maybe the biggest tip I could share if there's a biggest tip.
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I started using my ears a lot more.
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I don't know if, and this is a very weird sort of thing to say as well, I think, but
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growing up as a pianist, even though I did do a lot of classical piano stuff, my ears
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were not super strong.
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For example, I would play a piece and if I were to mess up halfway, I would be totally
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lost because I'd be like, if I memorized it, right?
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I memorized a piece by Brahms or something, play the thing.
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And I use that as an example just because the harmonies are so beautiful, right?
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But it's like, if you forget something, that's it.
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You're totally out of it.
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Versus now, it's funny, I actually revisited this piece not long ago.
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I'm thinking of the intermezzo in A major, like opus 118.
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But I played that back when I was much, much younger and I remember having a total brain
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fart where I gave up halfway because I couldn't remember the piece.
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I revisited it a couple of months ago and I managed to play it and this time I was like,
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wait, this is that chord.
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This is this chord, la, la, la.
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So I started having a lot of these more solid connections between what I was listening to
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and what I was actually playing and doing.
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The reason I bring about this anecdote of using the ears is because I think being a
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classically trained musician took me a lot away from relying on the ears and instead
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relying on eyes for notation.
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But the moment I started doing a lot of the listening, that helped a lot also with my
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production stuff because then I would be listening to a song and I'd be like, okay, yes, that's
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a very cool synthesizer part.
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Okay, so we know it's a synthesizer, but what kind of wave is it made with?
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Is it like a saw wave or is it like a sine wave or whatever?
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And also, is it coming in very quickly?
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Does it have a very fast attack like a piano or is it more like fading in?
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And then what kind of effects does it have?
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Does it have reverb?
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Does it have a delay on it or a filter or something?
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And being able to use that part of the listening toolkit to apply that to electronic music
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helped me realize that, okay, so I know what that sound sounds like.
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Now I'm looking in my production software and it sounds like that, which doesn't sound
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like the original.
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So how do I get closer to that sound?
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And that was really something that I only developed after college.
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I was developing beginnings of that as a student, but it was really when I really started doing
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a lot of this regular practice and opening my ears very literally to stuff that my production
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I think got a lot better.
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So I don't know if that helps, Ari.
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That was like a very roundabout of seeing that.
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Yeah, no, it makes total sense to me.
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I mean, you're basically talking about the difference between playing music versus making
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music, right?
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Totally.
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Yes.
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Yeah.
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Have you ever heard of, I think it's Centorial.
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Do you know that?
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Yes.
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Yeah, yeah, yeah.
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Totally.
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Right.
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Because I tried a few lessons in that where they give you a synth sound and then you have
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to try to make it yourself.
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I knew I was bad, but I didn't think I was that bad.
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It was really hard.
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But I feel like this is the modern equivalent of your training, right?
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Yeah, it totally is.
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And that's actually things that I do with my students.
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So if any of my students are listening to this, which they might, it's like now you
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know where it comes from.
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Now you know why we do the thing.
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Yeah, we'll play a sound or sometimes it'll be something that they bring to.
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They bring to the table.
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So they're like, hey, there's this new song that's on the radio.
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Let's listen to it and let's kind of think a little bit about how that works.
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And sometimes it's not even a sound, but it could be something like the processing on
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a vocal, for example.
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So like this singer's voice, like how are they processing his or her voice or their
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voice, right?
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What kind of effects do they put on their vocal chain in that case?
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And that's a part of the ear training to listening to all of these different artists types of
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sounds and then being how do we recreate that if we want to?
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So I'm very curious about this Ableton.
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Sorry, I have to read.
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I'm so old.
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You know, the Ableton keypad.
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Yeah.
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Can you show us if you have in front of you?
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So this is something.
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This is an instrument that's called the Ableton Push.
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And it works very interestingly because the layout will change depending on what you want
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it to be, which is it's kind of fun.
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The cool part about it is that let me see if I can also share my sound.
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So the cool part about this, too, is that it's not just specific to one type of sound.
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So it could pretty much be like any sound that you want it to.
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At the moment, I've got some kind of electric piano sound pulled up.
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But that's how you kind of play it.
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And I don't know if anyone plays guitar.
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Maybe some of the listeners will play guitar.
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But this particular layout is very similar to guitar.
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So each note that's directly above each other is a fourth above each other.
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So for example, that's your major chord.
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That's F. That's G. So you can play a lot of these chords everywhere.
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But yeah, this is my main controller that I like using a lot.
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The main reason why I do it is because of what I mentioned just now, which is that it
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doesn't.
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Sorry, let me move my mic.
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The main reason why I like playing it so much is because you can have different types of
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sounds.
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So the electronic piano electric piano is one of them at the moment.
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But I'd love to get a suggestion from any of y'all.
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Would you like to hear a different instrument?
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Maybe we can find something else.
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Something weird.
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Yeah.
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OK, cool.
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Something out there.
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Yeah, maybe something weird.
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So I'm going to browse for a different sound.
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Maybe like let's do an effect.
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So OK, cool.
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Can I ask Claire, are these sounds loaded into the controller or is it separately on
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your computer?
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Yeah, so these are all that's a great question, Eric.
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So these are all in the software.
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So in the software Ableton Live, you have to connect this to the software for it to work.
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So very honestly, like if I didn't connect this to my computer, it would just be like
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a really expensive paperweight, like a $700 paperweight.
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But yeah, let's see what happens if we load like this one up.
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That one was kind of fun.
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So let's see.
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Cool.
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So we got some lasers now going.
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If we wanted to, we could also do something that's like totally different.
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So maybe let's do yeah, let's do some drums so you can do like some drum kits as well,
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which is kind of fun.
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Let's see if we can do.
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Yeah, let's do like a classic 808 thing.
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Load that.
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Cool.
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So now the layout has changed, right?
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We're not seeing those notes anymore, but now we're seeing drums so I can do like drums
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over here.
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So it's really flexible.
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It's one of my favorite parts about using this instrument.
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It is created by the company Ableton that also creates the software Ableton Live.
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So that's the software that I was connecting to my that is in my computer that I'm connecting
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to at the moment.
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So it integrates really well with that software.
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Yeah, that's the instrument.
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Awesome.
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Thank you for the demonstration.
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Is this the future of piano keyboard?
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Are we going to forget about this black and white and is that the future?
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I don't know.
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Honestly, that's a great question, Kimi.
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I think that for I often tell my students that like a lot of the time it's not so much
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the same instrument, but I try to help them think of it as a totally different instrument
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because the piano is one thing.
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And then the piano keyboard synthesizers are also a different thing.
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And then you have this sort of thing, right?
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Because I remember, for example, this is a little bit of a side anecdote, but the very
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first time that I touched a synthesizer, I thought it was going to be the same because
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it was a piano keyboard, right?
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But I basically had to relearn all of my technique because the action is so different.
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So when you play it, it's like it's a totally different type of thing.
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It's like springs instead of the actual, you know, hammer action that you have.
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So it feels really, really different.
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And I remember at first I hated it because I was like, oh, what's this like plastic thing?
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So I hated it at first.
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But after a while, you kind of get used to it.
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So that's why I think a little bit about this sort of instrument being totally different.
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And that's a little bit of what we do at Berkeley College of Music too.
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Like the program that I teach in specifically is called the Electronic Digital Instrument
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Program.
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So a lot of my students do have a keyboard background in part because we do use keyboard
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controllers in their instruments too.
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But some of them will use push and some of them will use other instruments that look
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a little more different.
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Also there's like lots of different instruments too.
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So it really depends on the student.
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And that's why we think of it as a totally separate vein.
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So I think maybe it is the future, but I don't think it will replace the piano.
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I think it'll all kind of grow together, if that makes sense.
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Yeah.
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So what's your advice for classical musicians who are interested in broadening their field
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or horizons?
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Yeah, that's a really great question.
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I think a lot of the time it's just being open.
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And this is also thinking back to my experience, but some of the experiences of my students
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too.
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Sometimes we get so locked in the things that we're used to that the moment we step out
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of the comfort zone, it's so jarring that we just like freeze up a little bit.
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So I think being open is really interesting.
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If people are interested and they come from a classical piano background and you want
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to get maybe a little bit of insight into something that could be kind of a little so
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classical, but going into the more electronic side, there's a really wonderful set of albums
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by Wendy Carlos called Switched on Bach that I would highly recommend.
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This was done back in like the sixties and the seventies, but basically Wendy Carlos,
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she's an amazing electronic musician, one of the very first electronic musicians to
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do this.
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She did entirely orchestrated synthesizer versions of Pieces by Bach.
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So for example, there's like the two part inventions like in A minor, for example, she
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did that, but instead of having just the two voices for right hand and left hand piano,
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she re-orchestrated everything so that it would be like, okay, there's like a high synth
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part playing the right hand in this section.
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Later on when the left hand enters, it's like another type of synthesizer and it's really,
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really beautiful.
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I really encourage people to listen to it.
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It's called Switched on Bach and there's, I think, Switched on Bach one and then Switched
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on Bach two.
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And then she also did, I think, a version of the Well-Tempered Clairvier as well, also
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in the synthesizer version of stuff.
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So if people are interested in that, I would highly recommend.
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So Claire, we're getting a little long now and we still have rapid fire questions to
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go, but I wanted to make sure that we touch on something very important, which you've
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already alluded to, which is your efforts in activism, right?
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Because like you said, in our musical field, sometimes they're predominantly white, male,
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historically speaking.
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So can you talk a little bit about your efforts in this area?
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Yeah, specifically, I think a lot of the work that I do, Eric, is related to the field of
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music tech, but also even in just like music in general, I think.
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We see a lot of these, especially even from the classical sphere and the jazz sphere,
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there's still a lot of non-white people whose voices have yet to be heard.
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So a lot of the time when I'm working with young people, especially, I work a lot with
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youth and a lot with kids K to 12 as well.
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It's really just about showing up and being there.
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And it might seem very, very simple and very rudimentary, but even just walking into a
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classroom, a lot of the time when I've done talks, for example, about music and I walk
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into a classroom and there's a few students who are not white and they're just looking
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at this random Asian lady who's walked in, it means something to them.
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And a lot of the time, even after I've done a certain talk at a certain location, I've
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done music tech work or I've showed them synths and software and stuff like that, there have
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been students who have come up to me and be like, hey, thank you for being here.
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Because every other teacher that I've seen or every other person I've seen do this has
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not looked like me, but now I know it's possible.
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And that's pretty much exactly the same thing that happened for me.
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Apart from that one night that changed my life with the live electronic music stuff
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with Disclosure, the other night that I really think about a lot was when I saw an artist
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called Toki Monster perform.
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And Toki Monster was the very first woman of Asian descent nominated for a Grammy in
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the dance and electronic music category.
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And that was only in 2019, so it's not too long ago.
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But I saw her perform many years ago when I was still a student.
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And that was a night where I was like, she looks like me, this is not impossible.
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So that meant a lot.
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And I think about that so much.
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So that kind of, in a way, was one of the reasons why I try to do a lot of this activism
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stuff or I try to integrate it into my education.
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So I'll bring a lot of that element into some of these spaces where I work in.
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And to be very frank, most of the spaces that I do work in have strong populations of people
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of color.
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So it really does make a difference when people see diversity and when they see different
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representation in different areas of fields.
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Some things I've tried to do also is when I know that I can't be, I shouldn't be the
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right person to do this, I try to open it up to someone who should.
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For example, I recently did something that was focused actually a little bit more on
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dance music culture, and it was specifically also for a group of students that was more
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students of color.
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And I offered it up to one of my other friends who was specifically black, and he does a
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lot of DJ culture and a lot of history as well.
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And I said, this is the perfect person to do this.
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So I think that's also something that we can do as well in our sphere as educators and
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just people being aware of what is a good time to show up and when is a good time to
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show up to a certain group of students who need to see it or to a certain audience who
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needs to see it.
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It doesn't just need to be students, but it could be a different audience.
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So I try to do a little bit of that as well when I'm working with different groups, not
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just showing you cool stuff, how to press buttons, but also teaching people a little
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bit about the more historical side or being aware of the cultural connotations of some
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of these things that we're working with.
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Right.
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Yeah, because ultimately everybody has a voice that deserves to be heard.
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Right?
298
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Yeah, totally.
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And I think for a lot of the at least for them, and this is going back to the younger
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kids that I work with too, but for a lot of them, I think they don't realize that a lot
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of these norms exist when they're so young.
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They don't.
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So they're still open to a lot of these ideas.
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I'm really talking about like super young, like four or five year olds.
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The reason why I think about them is because one of the incidents that did for sure shape
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a lot of what I'm doing now is I used to tour a lot with this group called Alphabet Rockers.
307
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Shout out to Alphabet Rockers.
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They're a double Grammy nominated hip hop group that does a lot of hip hop, but for
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kids.
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So they do a lot of social justice types of work and a lot of the audience is in that
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age group.
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So it's like four or five year olds, sometimes a little bit older, like teens and stuff like
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that.
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But there was one concert we did for these kindergartners or first graders or something.
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And I was doing the on stage DJing and playback stuff for them.
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After the show, we had a meet and greet and every single one of the kids that came up
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to me and asked about stuff or like wanted to say hi, they were all girls.
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And I think if I hadn't been a woman, that wouldn't have happened.
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And then like all the boys were like in the back.
320
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And I just thought of like, imagine all of these opportunities where maybe there wasn't
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a woman here and there it was just the boys that were coming up and all of these girls
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wouldn't have the chance or the courage really to acknowledge like, hey, I want to find out
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more about what she's doing or what they're doing on stage and stuff.
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So I think a lot about these actual practical things happening.
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Not practical, but like real life situations happening and the real effect that it has
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on a person just because I think of the real effect that it had on me at the time.
327
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So yeah.
328
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Yeah.
329
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I don't want to go off on too big a tangent here, but that's the thing.
330
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I know sometimes people get down on social justice and there's a lot of fighting in the
331
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news and stuff like that, but we're talking about real people, right?
332
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Real experiences.
333
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When somebody comes up to you like that and says, you know, you inspired me.
334
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Yeah.
335
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That's so meaningful and so powerful.
336
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So kudos to you for doing that, for taking your platform.
337
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Thanks for letting me share that.
338
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I don't often get to talk about that.
339
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So thank you.
340
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Yeah.
341
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I think that's something that we believe it's important too.
342
00:18:10,200 --> 00:18:14,280
We got to wrap up pretty soon, but I just want to ask you quickly before we move on
343
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to rapid fire, I think as a music technologist, what do you see in the future?
344
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What's the future of music?
345
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Yeah.
346
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Wow.
347
00:18:24,080 --> 00:18:26,760
That's such a tough question, Eric.
348
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We want your perspective.
349
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Yeah, totally.
350
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Very honestly, I think there's so many possibilities that I don't think I'd be able to touch all
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of them, but at least from one thing in my current line of sight, I guess, is that there's
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a lot of more people who I think will have the courage to try things out without all
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of these barriers before them.
354
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So for example, I'm thinking back to, this is a little bit more of an older school stuff
355
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too, but even going back to the studio, just now Claire mentioned she has this set up as
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a studio, but like 10 years ago, that might not have been the case for a lot of people.
357
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They wouldn't have been able to do that on their own and have the courage to do their
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things for themselves.
359
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So I think there's going to be a lot of that.
360
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I hesitate to use this word, but I think it makes sense in this case, like a more democratic
361
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approach to music creation.
362
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It's like everyone kind of has the same tools, and it won't always be the same, but even
363
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just starting, say, with phones, like if you have a phone, being able to use that as part
364
00:19:26,280 --> 00:19:32,200
of your creative process, creative technology process, having your phone be your first foray
365
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into making sound or building beats and stuff like that.
366
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I think that's going to be something that will definitely be in the future.
367
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And to that end, I think just even more diversity in the music that we're hearing, not just
368
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from the people also, but even just styles, stylistically.
369
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I think a lot of people, when they make music, and this is something that I tell to my students
370
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and my mentees as well, but it's definitely not, it might be a little bit cliche, but
371
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it's not an understatement to say that no one else is going to make the music that you're
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going to make, because it's true.
373
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No one else is you.
374
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All right, so if you don't make something, no one else is going to do it for you, and
375
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no one else is going to make it in the exact same way.
376
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So I think to that end, there's going to be a lot more different types of music styles
377
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that we'll be hearing.
378
00:20:18,520 --> 00:20:22,680
Sure, it might sound similar, but I think there's a lot of power in everybody kind of
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realizing their own version of the music that they're hearing in their heads.
380
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So I think that's kind of what I see in the immediate future.
381
00:20:29,400 --> 00:20:33,080
I think there's so many possibilities, though, like even the crazy music tech developments
382
00:20:33,080 --> 00:20:37,480
that are developing all the time, like I was just talking to some of my other friends the
383
00:20:37,480 --> 00:20:40,520
other day about this, but now it's not just physical controllers, right?
384
00:20:40,520 --> 00:20:44,880
But I did a little bit of work with this pair of gloves called the Mimiu gloves that are
385
00:20:44,880 --> 00:20:47,360
basically gloves, but they're controlling music.
386
00:20:47,360 --> 00:20:51,920
So if you do something like if you make a certain gesture, it plays a certain chord
387
00:20:51,920 --> 00:20:53,360
or it puts on a certain effect.
388
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So there's that too, which is like, maybe that's an example of how crazy things will
389
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get in the most wonderful sort of way.
390
00:20:59,400 --> 00:21:00,400
Sorry, Tintra.
391
00:21:00,400 --> 00:21:03,720
Yeah, I saw your video of that.
392
00:21:03,720 --> 00:21:04,720
That was cool.
393
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I had no idea that that was happening.
394
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It's really weird.
395
00:21:08,240 --> 00:21:09,960
Yeah, it's weird in the best sort of ways.
396
00:21:09,960 --> 00:21:14,960
And I mean that in like a very wonderful in awe type of way.
397
00:21:14,960 --> 00:21:18,440
But yeah, that's just a fraction, I think, of stuff that people are developing now.
398
00:21:18,440 --> 00:21:21,160
So who knows what will happen next?
399
00:21:21,160 --> 00:21:22,160
Great.
400
00:21:22,160 --> 00:21:25,800
Well, we really appreciate your insight and your perspective.
401
00:21:25,800 --> 00:21:28,240
So thank you for sharing that with us.
402
00:21:28,240 --> 00:21:31,280
So we're going to move on to our rapid fire questions.
403
00:21:31,280 --> 00:21:32,280
All right.
404
00:21:32,280 --> 00:21:35,400
So this is short and sweet to the point.
405
00:21:35,400 --> 00:21:36,400
All right.
406
00:21:36,400 --> 00:21:38,280
And we'll take turns, the three of us.
407
00:21:38,280 --> 00:21:40,000
So I'll go first.
408
00:21:40,000 --> 00:21:43,280
Number one, what is your comfort food?
409
00:21:43,280 --> 00:21:45,480
Oh my God.
410
00:21:45,480 --> 00:21:46,480
Oh, no.
411
00:21:46,480 --> 00:21:47,480
Oh, no.
412
00:21:47,480 --> 00:21:48,480
This is terrible.
413
00:21:48,480 --> 00:21:53,240
Okay, I'll go for Singaporean food, Chak Kui Teow.
414
00:21:53,240 --> 00:21:55,520
Yeah, okay.
415
00:21:55,520 --> 00:21:57,800
Number two, cats or dogs?
416
00:21:57,800 --> 00:21:58,800
Oh, no, cats.
417
00:21:58,800 --> 00:21:59,800
Oh, no, you said dogs first.
418
00:21:59,800 --> 00:22:07,440
I don't know if you can take that back.
419
00:22:07,440 --> 00:22:09,880
What is your word or words to live by?
420
00:22:09,880 --> 00:22:11,680
Ah, okay.
421
00:22:11,680 --> 00:22:16,480
Word cards, stay humble, don't be late by Iskander Ismail.
422
00:22:16,480 --> 00:22:19,080
Yeah, I know it's short.
423
00:22:19,080 --> 00:22:20,080
It's supposed to be rapid fire.
424
00:22:20,080 --> 00:22:24,640
But I just want to say that Iskander Ismail is a Singaporean composer who inspired me
425
00:22:24,640 --> 00:22:26,320
very much back in the day.
426
00:22:26,320 --> 00:22:31,920
So that was a coat that I took from my mentor who was his mentee, my mentor, Julian Wong.
427
00:22:31,920 --> 00:22:32,920
Hi, Julian.
428
00:22:32,920 --> 00:22:33,920
Julian's watching.
429
00:22:33,920 --> 00:22:34,920
Yeah.
430
00:22:34,920 --> 00:22:35,920
Wonderful.
431
00:22:35,920 --> 00:22:36,920
Thank you.
432
00:22:36,920 --> 00:22:39,280
What is the most important quality you look for in other people?
433
00:22:39,280 --> 00:22:40,280
Wow.
434
00:22:40,280 --> 00:22:41,480
Oh my God.
435
00:22:41,480 --> 00:22:44,480
These are so deep.
436
00:22:44,480 --> 00:22:45,480
It's Yukimi's question.
437
00:22:45,480 --> 00:22:46,480
I can't take that.
438
00:22:46,480 --> 00:22:50,280
That's good, Yukimi, thank you.
439
00:22:50,280 --> 00:22:51,700
Patience.
440
00:22:51,700 --> 00:22:55,800
Very important for sure.
441
00:22:55,800 --> 00:23:02,480
And by the same token, what is the worst quality in people that you want to stay away from?
442
00:23:02,480 --> 00:23:03,480
Cool.
443
00:23:03,480 --> 00:23:07,840
And maybe this is a little bit of myself too.
444
00:23:07,840 --> 00:23:11,240
Bad temperedness, like losing your temper.
445
00:23:11,240 --> 00:23:12,240
Okay.
446
00:23:12,240 --> 00:23:16,120
Name three people who inspire you, living or dead.
447
00:23:16,120 --> 00:23:18,120
Oh my God.
448
00:23:18,120 --> 00:23:29,520
Let's see, my grandfather and my mentor when I was, Mr. Xiao, my mentor when I was in high
449
00:23:29,520 --> 00:23:34,400
school doing music and also Toki Monster.
450
00:23:34,400 --> 00:23:39,760
Which historical figure or composer do you want to learn or take lessons from if she
451
00:23:39,760 --> 00:23:44,720
or he were alive?
452
00:23:44,720 --> 00:23:47,240
Probably Nadia Boulanger.
453
00:23:47,240 --> 00:23:49,760
I love her ideas about sound.
454
00:23:49,760 --> 00:23:51,760
Yes, Nadia Boulanger.
455
00:23:51,760 --> 00:23:52,760
Great.
456
00:23:52,760 --> 00:23:58,360
Which historical figure composer do you wish to hang out with at the bar if she or he were
457
00:23:58,360 --> 00:23:59,360
alive?
458
00:23:59,360 --> 00:24:00,360
Oh, interesting.
459
00:24:00,360 --> 00:24:01,360
Well, maybe Bach.
460
00:24:01,360 --> 00:24:02,360
I don't know.
461
00:24:02,360 --> 00:24:10,720
I think it would be fun to chat with him about all of the same things that he's written many
462
00:24:10,720 --> 00:24:11,720
times.
463
00:24:11,720 --> 00:24:12,720
Probably Bach.
464
00:24:12,720 --> 00:24:17,160
Well, I love Bach too, so we can all hang together.
465
00:24:17,160 --> 00:24:19,520
So my turn.
466
00:24:19,520 --> 00:24:21,840
Name one piece in your current playlist.
467
00:24:21,840 --> 00:24:24,680
Oh, one piece in my current playlist.
468
00:24:24,680 --> 00:24:29,800
I've been listening a lot to a tune called Never Enough by Disclosure.
469
00:24:29,800 --> 00:24:31,280
So that's one piece.
470
00:24:31,280 --> 00:24:32,280
Cool.
471
00:24:32,280 --> 00:24:33,280
All right.
472
00:24:33,280 --> 00:24:35,280
Maybe we'll list that in our Spotify as well.
473
00:24:35,280 --> 00:24:37,560
Name a book title you're currently reading.
474
00:24:37,560 --> 00:24:39,760
Oh, I'm reading quite a few.
475
00:24:39,760 --> 00:24:41,200
Oh dear.
476
00:24:41,200 --> 00:24:44,760
Well, let's see.
477
00:24:44,760 --> 00:24:45,880
What would be a good one?
478
00:24:45,880 --> 00:24:49,880
The reason I hesitated was because the one that initially came to mind, and you can feel
479
00:24:49,880 --> 00:24:52,440
free to edit this out, but it's called Assholes.
480
00:24:52,440 --> 00:24:55,440
So I don't know.
481
00:24:55,440 --> 00:24:59,760
That's why I was like, okay, I probably shouldn't say that.
482
00:24:59,760 --> 00:25:01,760
It's actually in the background over there.
483
00:25:01,760 --> 00:25:02,760
Whoops.
484
00:25:02,760 --> 00:25:05,400
If that's okay, then that's the book that I've been currently reading.
485
00:25:05,400 --> 00:25:06,400
It's very fun.
486
00:25:06,400 --> 00:25:10,280
It talks a lot about the human condition actually and about narcissism, which is why I thought
487
00:25:10,280 --> 00:25:13,280
it was interesting.
488
00:25:13,280 --> 00:25:17,680
Another book that I've been reading is Revisiting, actually, was Becoming by Michelle Obama.
489
00:25:17,680 --> 00:25:20,480
So that's been another one that I've been looking at too.
490
00:25:20,480 --> 00:25:22,280
But yeah, feel free to edit that first part out.
491
00:25:22,280 --> 00:25:23,280
We'll keep both.
492
00:25:23,280 --> 00:25:24,280
Maybe it will be.
493
00:25:24,280 --> 00:25:25,280
Oh no.
494
00:25:25,280 --> 00:25:29,440
You get only one song or piece to listen to for the rest of your life.
495
00:25:29,440 --> 00:25:30,440
What is it?
496
00:25:30,440 --> 00:25:31,440
Oh wow.
497
00:25:31,440 --> 00:25:32,440
That one's tough.
498
00:25:32,440 --> 00:25:39,320
You know, maybe it would be, it would probably be the, yeah, I think I will say, I wasn't
499
00:25:39,320 --> 00:25:40,920
sure about this, but I'm pretty sure.
500
00:25:40,920 --> 00:25:47,680
The Arthur Rubinstein version of Intermezzo in A Me is like one of my favorites all the
501
00:25:47,680 --> 00:25:48,680
time.
502
00:25:48,680 --> 00:25:53,680
It's one of the reasons that I still go back to a lot of classical music stuff, even if
503
00:25:53,680 --> 00:25:56,960
the rest of my world is electronic, because it puts me into a good space.
504
00:25:56,960 --> 00:25:57,960
Yes.
505
00:25:57,960 --> 00:25:58,960
That's exciting.
506
00:25:58,960 --> 00:25:59,960
We have to talk more.
507
00:25:59,960 --> 00:26:02,760
Rubinstein is also my personal god.
508
00:26:02,760 --> 00:26:04,960
So music is blank.
509
00:26:04,960 --> 00:26:07,960
What is the blank?
510
00:26:07,960 --> 00:26:16,960
Music is a world of possibilities.
511
00:26:16,960 --> 00:26:17,960
Awesome.
512
00:26:17,960 --> 00:26:21,960
That is a wonderful answer.
513
00:26:21,960 --> 00:26:26,720
All right.
514
00:26:26,720 --> 00:26:28,720
Thank you so much, Claire.
515
00:26:28,720 --> 00:26:32,160
Before we, before we wrap up, do you want to talk a little bit about Beat Tover and
516
00:26:32,160 --> 00:26:33,160
what it is?
517
00:26:33,160 --> 00:26:34,160
Yeah, totally.
518
00:26:34,160 --> 00:26:35,160
Thanks, Eric.
519
00:26:35,160 --> 00:26:36,160
Thank you so much for having me.
520
00:26:36,160 --> 00:26:37,160
This was so fun.
521
00:26:37,160 --> 00:26:38,160
I'm so excited.
522
00:26:38,160 --> 00:26:41,760
So I'm currently doing this October long project called Beat Tover, where I make a little bit
523
00:26:41,760 --> 00:26:43,440
of music every day.
524
00:26:43,440 --> 00:26:46,800
Previous years, I tried to do a little bit of a theme for every year.
525
00:26:46,800 --> 00:26:51,640
So this year I'm actually doing a new song every day, which is not killing me yet.
526
00:26:51,640 --> 00:26:52,640
We'll see how it is.
527
00:26:52,640 --> 00:26:55,680
By the time this podcast gets released, we will see if I'm still alive.
528
00:26:55,680 --> 00:27:01,360
But yeah, if folks want to follow me, that's going to be at Daltrix, so D-O-L-L-T-R-I-C-K
529
00:27:01,360 --> 00:27:02,920
on all social media platforms.
530
00:27:02,920 --> 00:27:07,920
Or if you look on the greater internet, it is D-O-L-L-T-R-exclamation point C-K in all
531
00:27:07,920 --> 00:27:08,920
lowercase letters.
532
00:27:08,920 --> 00:27:11,200
Sometimes the spelling throws people a little bit off.
533
00:27:11,200 --> 00:27:14,440
But as long as you do the all lowercase letters and the exclamation point, you should find
534
00:27:14,440 --> 00:27:15,440
me.
535
00:27:15,440 --> 00:27:17,240
So that's a little bit of that.
536
00:27:17,240 --> 00:27:18,240
All right.
537
00:27:18,240 --> 00:27:20,520
Well, thank you so much.
538
00:27:20,520 --> 00:27:23,880
That's going to wrap up this episode of the Piano Pod.
539
00:27:23,880 --> 00:27:27,400
Thank you, Claire, for joining us today and sharing all your wonderful thoughts on so
540
00:27:27,400 --> 00:27:28,400
many different subjects.
541
00:27:28,400 --> 00:27:32,760
And once again, I will remind the audience, if you want to find out more about Claire,
542
00:27:32,760 --> 00:27:35,400
her website is ClaireMarieLym.com.
543
00:27:35,400 --> 00:27:40,500
And she also has a website for Daltrix specifically, at Daltrix.com.
544
00:27:40,500 --> 00:27:44,480
Check the description for the links.
545
00:27:44,480 --> 00:27:49,260
If you enjoyed today's episode, please rate and review on whatever podcasting platform
546
00:27:49,260 --> 00:27:50,260
you use.
547
00:27:50,260 --> 00:27:55,120
If you are watching us from YouTube, remember to hit the thumbs up button and be sure to
548
00:27:55,120 --> 00:27:56,640
subscribe to our channel.
549
00:27:56,640 --> 00:27:59,960
You can also find us on Facebook, Twitter, Instagram and LinkedIn.
550
00:27:59,960 --> 00:28:03,240
The links are in the description below.
551
00:28:03,240 --> 00:28:08,600
If you have feedback for us, please leave it in the comments or DM us via social media,
552
00:28:08,600 --> 00:28:14,920
or you can also email us at the pianopodnyc.gmail.com.
553
00:28:14,920 --> 00:28:18,160
And we will see you all for the next episode of the Piano Pod.
554
00:28:18,160 --> 00:28:19,160
Bye, everybody.
555
00:28:19,160 --> 00:28:20,160
Thank you, Claire.
556
00:28:20,160 --> 00:28:21,160
Bye.
557
00:28:21,160 --> 00:28:37,160
Bye, Claire.
00:00:00,000 --> 00:00:11,000
You're listening to the piano part where we talk to the brightest minds in the industry
2
00:00:11,000 --> 00:00:17,760
about how they're bringing the piano into the 21st century.
3
00:00:17,760 --> 00:00:22,520
Last time we spoke to music technologist Claire Marie Lim about her creative process and the
4
00:00:22,520 --> 00:00:26,320
integration of classical foundations with modern genres and technology.
5
00:00:26,320 --> 00:00:30,920
And now the conclusion.
6
00:00:30,920 --> 00:00:32,440
How did you learn production?
7
00:00:32,440 --> 00:00:33,440
Was it through Berkeley?
8
00:00:33,440 --> 00:00:34,520
Was it YouTube videos?
9
00:00:34,520 --> 00:00:35,720
Because it's really top notch.
10
00:00:35,720 --> 00:00:36,720
Yeah.
11
00:00:36,720 --> 00:00:37,720
Thank you so much, Erie.
12
00:00:37,720 --> 00:00:38,720
That means a lot.
13
00:00:38,720 --> 00:00:39,720
I'll be very honest.
14
00:00:39,720 --> 00:00:44,680
I think I grew the most after I was done with college.
15
00:00:44,680 --> 00:00:50,800
And I think it's because college gave me a lot of the tools that I had, but it was still,
16
00:00:50,800 --> 00:00:52,400
it still took me time to learn them.
17
00:00:52,400 --> 00:00:57,360
I listened back to a lot of the pieces that I made while I was still a college student
18
00:00:57,360 --> 00:00:58,840
and it's like, yeah, they're okay.
19
00:00:58,840 --> 00:01:03,920
But you can definitely hear the beginnings of Daltrik trying to poke around and being
20
00:01:03,920 --> 00:01:06,400
like, what is this doing?
21
00:01:06,400 --> 00:01:09,080
Which is not to say that I didn't understand things.
22
00:01:09,080 --> 00:01:11,600
I understood things conceptually.
23
00:01:11,600 --> 00:01:17,560
This is how this synthesizer works or this is how this compressor works or whatever it
24
00:01:17,560 --> 00:01:18,560
is.
25
00:01:18,560 --> 00:01:21,520
This is how that sound engineering type of thing works.
26
00:01:21,520 --> 00:01:26,680
But being able to just put my nose to the grindstone and work at it, that really came
27
00:01:26,680 --> 00:01:27,680
after college.
28
00:01:27,680 --> 00:01:30,000
And I think it was just a lot of practice.
29
00:01:30,000 --> 00:01:35,320
And actually, this is maybe the biggest tip I could share if there's a biggest tip.
30
00:01:35,320 --> 00:01:37,320
I started using my ears a lot more.
31
00:01:37,320 --> 00:01:42,120
I don't know if, and this is a very weird sort of thing to say as well, I think, but
32
00:01:42,120 --> 00:01:47,760
growing up as a pianist, even though I did do a lot of classical piano stuff, my ears
33
00:01:47,760 --> 00:01:51,040
were not super strong.
34
00:01:51,040 --> 00:01:57,320
For example, I would play a piece and if I were to mess up halfway, I would be totally
35
00:01:57,320 --> 00:01:59,960
lost because I'd be like, if I memorized it, right?
36
00:01:59,960 --> 00:02:03,600
I memorized a piece by Brahms or something, play the thing.
37
00:02:03,600 --> 00:02:06,480
And I use that as an example just because the harmonies are so beautiful, right?
38
00:02:06,480 --> 00:02:09,320
But it's like, if you forget something, that's it.
39
00:02:09,320 --> 00:02:11,640
You're totally out of it.
40
00:02:11,640 --> 00:02:15,640
Versus now, it's funny, I actually revisited this piece not long ago.
41
00:02:15,640 --> 00:02:20,000
I'm thinking of the intermezzo in A major, like opus 118.
42
00:02:20,000 --> 00:02:25,160
But I played that back when I was much, much younger and I remember having a total brain
43
00:02:25,160 --> 00:02:29,360
fart where I gave up halfway because I couldn't remember the piece.
44
00:02:29,360 --> 00:02:34,360
I revisited it a couple of months ago and I managed to play it and this time I was like,
45
00:02:34,360 --> 00:02:36,020
wait, this is that chord.
46
00:02:36,020 --> 00:02:38,440
This is this chord, la, la, la.
47
00:02:38,440 --> 00:02:44,240
So I started having a lot of these more solid connections between what I was listening to
48
00:02:44,240 --> 00:02:46,560
and what I was actually playing and doing.
49
00:02:46,560 --> 00:02:51,200
The reason I bring about this anecdote of using the ears is because I think being a
50
00:02:51,200 --> 00:02:56,800
classically trained musician took me a lot away from relying on the ears and instead
51
00:02:56,800 --> 00:02:58,840
relying on eyes for notation.
52
00:02:58,840 --> 00:03:02,760
But the moment I started doing a lot of the listening, that helped a lot also with my
53
00:03:02,760 --> 00:03:07,840
production stuff because then I would be listening to a song and I'd be like, okay, yes, that's
54
00:03:07,840 --> 00:03:09,360
a very cool synthesizer part.
55
00:03:09,360 --> 00:03:14,800
Okay, so we know it's a synthesizer, but what kind of wave is it made with?
56
00:03:14,800 --> 00:03:18,080
Is it like a saw wave or is it like a sine wave or whatever?
57
00:03:18,080 --> 00:03:21,120
And also, is it coming in very quickly?
58
00:03:21,120 --> 00:03:25,280
Does it have a very fast attack like a piano or is it more like fading in?
59
00:03:25,280 --> 00:03:28,200
And then what kind of effects does it have?
60
00:03:28,200 --> 00:03:29,200
Does it have reverb?
61
00:03:29,200 --> 00:03:32,840
Does it have a delay on it or a filter or something?
62
00:03:32,840 --> 00:03:39,240
And being able to use that part of the listening toolkit to apply that to electronic music
63
00:03:39,240 --> 00:03:43,120
helped me realize that, okay, so I know what that sound sounds like.
64
00:03:43,120 --> 00:03:47,440
Now I'm looking in my production software and it sounds like that, which doesn't sound
65
00:03:47,440 --> 00:03:48,440
like the original.
66
00:03:48,440 --> 00:03:51,480
So how do I get closer to that sound?
67
00:03:51,480 --> 00:03:54,880
And that was really something that I only developed after college.
68
00:03:54,880 --> 00:04:00,920
I was developing beginnings of that as a student, but it was really when I really started doing
69
00:04:00,920 --> 00:04:06,840
a lot of this regular practice and opening my ears very literally to stuff that my production
70
00:04:06,840 --> 00:04:07,840
I think got a lot better.
71
00:04:07,840 --> 00:04:08,840
So I don't know if that helps, Ari.
72
00:04:08,840 --> 00:04:11,840
That was like a very roundabout of seeing that.
73
00:04:11,840 --> 00:04:13,680
Yeah, no, it makes total sense to me.
74
00:04:13,680 --> 00:04:18,280
I mean, you're basically talking about the difference between playing music versus making
75
00:04:18,280 --> 00:04:19,280
music, right?
76
00:04:19,280 --> 00:04:20,280
Totally.
77
00:04:20,280 --> 00:04:21,280
Yes.
78
00:04:21,280 --> 00:04:22,280
Yeah.
79
00:04:22,280 --> 00:04:23,280
Have you ever heard of, I think it's Centorial.
80
00:04:23,280 --> 00:04:24,280
Do you know that?
81
00:04:24,280 --> 00:04:25,280
Yes.
82
00:04:25,280 --> 00:04:26,280
Yeah, yeah, yeah.
83
00:04:26,280 --> 00:04:27,280
Totally.
84
00:04:27,280 --> 00:04:28,280
Right.
85
00:04:28,280 --> 00:04:30,120
Because I tried a few lessons in that where they give you a synth sound and then you have
86
00:04:30,120 --> 00:04:32,040
to try to make it yourself.
87
00:04:32,040 --> 00:04:34,200
I knew I was bad, but I didn't think I was that bad.
88
00:04:34,200 --> 00:04:35,880
It was really hard.
89
00:04:35,880 --> 00:04:39,400
But I feel like this is the modern equivalent of your training, right?
90
00:04:39,400 --> 00:04:40,720
Yeah, it totally is.
91
00:04:40,720 --> 00:04:42,680
And that's actually things that I do with my students.
92
00:04:42,680 --> 00:04:45,960
So if any of my students are listening to this, which they might, it's like now you
93
00:04:45,960 --> 00:04:46,960
know where it comes from.
94
00:04:46,960 --> 00:04:48,320
Now you know why we do the thing.
95
00:04:48,320 --> 00:04:52,200
Yeah, we'll play a sound or sometimes it'll be something that they bring to.
96
00:04:52,200 --> 00:04:53,200
They bring to the table.
97
00:04:53,200 --> 00:04:56,200
So they're like, hey, there's this new song that's on the radio.
98
00:04:56,200 --> 00:04:59,200
Let's listen to it and let's kind of think a little bit about how that works.
99
00:04:59,200 --> 00:05:03,200
And sometimes it's not even a sound, but it could be something like the processing on
100
00:05:03,200 --> 00:05:04,920
a vocal, for example.
101
00:05:04,920 --> 00:05:08,680
So like this singer's voice, like how are they processing his or her voice or their
102
00:05:08,680 --> 00:05:09,680
voice, right?
103
00:05:09,680 --> 00:05:14,120
What kind of effects do they put on their vocal chain in that case?
104
00:05:14,120 --> 00:05:18,000
And that's a part of the ear training to listening to all of these different artists types of
105
00:05:18,000 --> 00:05:21,120
sounds and then being how do we recreate that if we want to?
106
00:05:21,120 --> 00:05:25,720
So I'm very curious about this Ableton.
107
00:05:25,720 --> 00:05:28,560
Sorry, I have to read.
108
00:05:28,560 --> 00:05:32,160
I'm so old.
109
00:05:32,160 --> 00:05:34,640
You know, the Ableton keypad.
110
00:05:34,640 --> 00:05:35,880
Yeah.
111
00:05:35,880 --> 00:05:39,360
Can you show us if you have in front of you?
112
00:05:39,360 --> 00:05:41,560
So this is something.
113
00:05:41,560 --> 00:05:45,360
This is an instrument that's called the Ableton Push.
114
00:05:45,360 --> 00:05:50,560
And it works very interestingly because the layout will change depending on what you want
115
00:05:50,560 --> 00:05:53,680
it to be, which is it's kind of fun.
116
00:05:53,680 --> 00:05:56,880
The cool part about it is that let me see if I can also share my sound.
117
00:05:56,880 --> 00:06:02,040
So the cool part about this, too, is that it's not just specific to one type of sound.
118
00:06:02,040 --> 00:06:04,560
So it could pretty much be like any sound that you want it to.
119
00:06:04,560 --> 00:06:10,840
At the moment, I've got some kind of electric piano sound pulled up.
120
00:06:10,840 --> 00:06:12,120
But that's how you kind of play it.
121
00:06:12,120 --> 00:06:13,960
And I don't know if anyone plays guitar.
122
00:06:13,960 --> 00:06:15,600
Maybe some of the listeners will play guitar.
123
00:06:15,600 --> 00:06:18,400
But this particular layout is very similar to guitar.
124
00:06:18,400 --> 00:06:22,600
So each note that's directly above each other is a fourth above each other.
125
00:06:22,600 --> 00:06:25,200
So for example, that's your major chord.
126
00:06:25,200 --> 00:06:30,040
That's F. That's G. So you can play a lot of these chords everywhere.
127
00:06:30,040 --> 00:06:33,560
But yeah, this is my main controller that I like using a lot.
128
00:06:33,560 --> 00:06:37,080
The main reason why I do it is because of what I mentioned just now, which is that it
129
00:06:37,080 --> 00:06:38,080
doesn't.
130
00:06:38,080 --> 00:06:39,400
Sorry, let me move my mic.
131
00:06:39,400 --> 00:06:43,960
The main reason why I like playing it so much is because you can have different types of
132
00:06:43,960 --> 00:06:44,960
sounds.
133
00:06:44,960 --> 00:06:48,760
So the electronic piano electric piano is one of them at the moment.
134
00:06:48,760 --> 00:06:51,560
But I'd love to get a suggestion from any of y'all.
135
00:06:51,560 --> 00:06:53,200
Would you like to hear a different instrument?
136
00:06:53,200 --> 00:06:56,440
Maybe we can find something else.
137
00:06:56,440 --> 00:06:57,440
Something weird.
138
00:06:57,440 --> 00:06:58,440
Yeah.
139
00:06:58,440 --> 00:06:59,440
OK, cool.
140
00:06:59,440 --> 00:07:00,440
Something out there.
141
00:07:00,440 --> 00:07:01,440
Yeah, maybe something weird.
142
00:07:01,440 --> 00:07:02,800
So I'm going to browse for a different sound.
143
00:07:02,800 --> 00:07:06,080
Maybe like let's do an effect.
144
00:07:06,080 --> 00:07:07,080
So OK, cool.
145
00:07:07,080 --> 00:07:12,200
Can I ask Claire, are these sounds loaded into the controller or is it separately on
146
00:07:12,200 --> 00:07:13,200
your computer?
147
00:07:13,200 --> 00:07:15,360
Yeah, so these are all that's a great question, Eric.
148
00:07:15,360 --> 00:07:17,640
So these are all in the software.
149
00:07:17,640 --> 00:07:22,000
So in the software Ableton Live, you have to connect this to the software for it to work.
150
00:07:22,000 --> 00:07:25,680
So very honestly, like if I didn't connect this to my computer, it would just be like
151
00:07:25,680 --> 00:07:30,920
a really expensive paperweight, like a $700 paperweight.
152
00:07:30,920 --> 00:07:33,360
But yeah, let's see what happens if we load like this one up.
153
00:07:33,360 --> 00:07:34,600
That one was kind of fun.
154
00:07:34,600 --> 00:07:35,600
So let's see.
155
00:07:35,600 --> 00:07:36,600
Cool.
156
00:07:36,600 --> 00:07:46,320
So we got some lasers now going.
157
00:07:46,320 --> 00:07:49,520
If we wanted to, we could also do something that's like totally different.
158
00:07:49,520 --> 00:07:55,120
So maybe let's do yeah, let's do some drums so you can do like some drum kits as well,
159
00:07:55,120 --> 00:07:56,560
which is kind of fun.
160
00:07:56,560 --> 00:07:57,560
Let's see if we can do.
161
00:07:57,560 --> 00:08:01,880
Yeah, let's do like a classic 808 thing.
162
00:08:01,880 --> 00:08:02,880
Load that.
163
00:08:02,880 --> 00:08:03,880
Cool.
164
00:08:03,880 --> 00:08:05,040
So now the layout has changed, right?
165
00:08:05,040 --> 00:08:09,880
We're not seeing those notes anymore, but now we're seeing drums so I can do like drums
166
00:08:09,880 --> 00:08:10,880
over here.
167
00:08:10,880 --> 00:08:11,880
So it's really flexible.
168
00:08:11,880 --> 00:08:14,500
It's one of my favorite parts about using this instrument.
169
00:08:14,500 --> 00:08:18,920
It is created by the company Ableton that also creates the software Ableton Live.
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So that's the software that I was connecting to my that is in my computer that I'm connecting
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to at the moment.
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So it integrates really well with that software.
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Yeah, that's the instrument.
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Awesome.
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Thank you for the demonstration.
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Is this the future of piano keyboard?
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Are we going to forget about this black and white and is that the future?
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I don't know.
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Honestly, that's a great question, Kimi.
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I think that for I often tell my students that like a lot of the time it's not so much
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the same instrument, but I try to help them think of it as a totally different instrument
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because the piano is one thing.
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And then the piano keyboard synthesizers are also a different thing.
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And then you have this sort of thing, right?
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Because I remember, for example, this is a little bit of a side anecdote, but the very
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first time that I touched a synthesizer, I thought it was going to be the same because
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it was a piano keyboard, right?
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But I basically had to relearn all of my technique because the action is so different.
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So when you play it, it's like it's a totally different type of thing.
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It's like springs instead of the actual, you know, hammer action that you have.
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So it feels really, really different.
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And I remember at first I hated it because I was like, oh, what's this like plastic thing?
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So I hated it at first.
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But after a while, you kind of get used to it.
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So that's why I think a little bit about this sort of instrument being totally different.
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And that's a little bit of what we do at Berkeley College of Music too.
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Like the program that I teach in specifically is called the Electronic Digital Instrument
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Program.
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So a lot of my students do have a keyboard background in part because we do use keyboard
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controllers in their instruments too.
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But some of them will use push and some of them will use other instruments that look
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a little more different.
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Also there's like lots of different instruments too.
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So it really depends on the student.
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And that's why we think of it as a totally separate vein.
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So I think maybe it is the future, but I don't think it will replace the piano.
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I think it'll all kind of grow together, if that makes sense.
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Yeah.
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So what's your advice for classical musicians who are interested in broadening their field
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or horizons?
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Yeah, that's a really great question.
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I think a lot of the time it's just being open.
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And this is also thinking back to my experience, but some of the experiences of my students
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too.
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Sometimes we get so locked in the things that we're used to that the moment we step out
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of the comfort zone, it's so jarring that we just like freeze up a little bit.
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So I think being open is really interesting.
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If people are interested and they come from a classical piano background and you want
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to get maybe a little bit of insight into something that could be kind of a little so
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classical, but going into the more electronic side, there's a really wonderful set of albums
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by Wendy Carlos called Switched on Bach that I would highly recommend.
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This was done back in like the sixties and the seventies, but basically Wendy Carlos,
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she's an amazing electronic musician, one of the very first electronic musicians to
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do this.
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She did entirely orchestrated synthesizer versions of Pieces by Bach.
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So for example, there's like the two part inventions like in A minor, for example, she
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did that, but instead of having just the two voices for right hand and left hand piano,
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she re-orchestrated everything so that it would be like, okay, there's like a high synth
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part playing the right hand in this section.
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Later on when the left hand enters, it's like another type of synthesizer and it's really,
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really beautiful.
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I really encourage people to listen to it.
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It's called Switched on Bach and there's, I think, Switched on Bach one and then Switched
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on Bach two.
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And then she also did, I think, a version of the Well-Tempered Clairvier as well, also
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in the synthesizer version of stuff.
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So if people are interested in that, I would highly recommend.
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So Claire, we're getting a little long now and we still have rapid fire questions to
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go, but I wanted to make sure that we touch on something very important, which you've
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already alluded to, which is your efforts in activism, right?
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Because like you said, in our musical field, sometimes they're predominantly white, male,
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historically speaking.
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So can you talk a little bit about your efforts in this area?
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Yeah, specifically, I think a lot of the work that I do, Eric, is related to the field of
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music tech, but also even in just like music in general, I think.
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We see a lot of these, especially even from the classical sphere and the jazz sphere,
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there's still a lot of non-white people whose voices have yet to be heard.
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So a lot of the time when I'm working with young people, especially, I work a lot with
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youth and a lot with kids K to 12 as well.
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It's really just about showing up and being there.
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And it might seem very, very simple and very rudimentary, but even just walking into a
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classroom, a lot of the time when I've done talks, for example, about music and I walk
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into a classroom and there's a few students who are not white and they're just looking
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at this random Asian lady who's walked in, it means something to them.
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And a lot of the time, even after I've done a certain talk at a certain location, I've
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done music tech work or I've showed them synths and software and stuff like that, there have
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been students who have come up to me and be like, hey, thank you for being here.
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Because every other teacher that I've seen or every other person I've seen do this has
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not looked like me, but now I know it's possible.
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And that's pretty much exactly the same thing that happened for me.
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Apart from that one night that changed my life with the live electronic music stuff
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with Disclosure, the other night that I really think about a lot was when I saw an artist
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called Toki Monster perform.
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And Toki Monster was the very first woman of Asian descent nominated for a Grammy in
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the dance and electronic music category.
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And that was only in 2019, so it's not too long ago.
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But I saw her perform many years ago when I was still a student.
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And that was a night where I was like, she looks like me, this is not impossible.
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So that meant a lot.
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And I think about that so much.
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So that kind of, in a way, was one of the reasons why I try to do a lot of this activism
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stuff or I try to integrate it into my education.
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So I'll bring a lot of that element into some of these spaces where I work in.
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And to be very frank, most of the spaces that I do work in have strong populations of people
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of color.
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So it really does make a difference when people see diversity and when they see different
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representation in different areas of fields.
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Some things I've tried to do also is when I know that I can't be, I shouldn't be the
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right person to do this, I try to open it up to someone who should.
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For example, I recently did something that was focused actually a little bit more on
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dance music culture, and it was specifically also for a group of students that was more
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students of color.
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And I offered it up to one of my other friends who was specifically black, and he does a
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lot of DJ culture and a lot of history as well.
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And I said, this is the perfect person to do this.
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So I think that's also something that we can do as well in our sphere as educators and
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just people being aware of what is a good time to show up and when is a good time to
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show up to a certain group of students who need to see it or to a certain audience who
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needs to see it.
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It doesn't just need to be students, but it could be a different audience.
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So I try to do a little bit of that as well when I'm working with different groups, not
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just showing you cool stuff, how to press buttons, but also teaching people a little
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bit about the more historical side or being aware of the cultural connotations of some
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of these things that we're working with.
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Right.
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Yeah, because ultimately everybody has a voice that deserves to be heard.
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Right?
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Yeah, totally.
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And I think for a lot of the at least for them, and this is going back to the younger
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kids that I work with too, but for a lot of them, I think they don't realize that a lot
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of these norms exist when they're so young.
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They don't.
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So they're still open to a lot of these ideas.
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I'm really talking about like super young, like four or five year olds.
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The reason why I think about them is because one of the incidents that did for sure shape
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a lot of what I'm doing now is I used to tour a lot with this group called Alphabet Rockers.
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Shout out to Alphabet Rockers.
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They're a double Grammy nominated hip hop group that does a lot of hip hop, but for
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kids.
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So they do a lot of social justice types of work and a lot of the audience is in that
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age group.
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So it's like four or five year olds, sometimes a little bit older, like teens and stuff like
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that.
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But there was one concert we did for these kindergartners or first graders or something.
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And I was doing the on stage DJing and playback stuff for them.
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After the show, we had a meet and greet and every single one of the kids that came up
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to me and asked about stuff or like wanted to say hi, they were all girls.
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And I think if I hadn't been a woman, that wouldn't have happened.
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And then like all the boys were like in the back.
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And I just thought of like, imagine all of these opportunities where maybe there wasn't
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a woman here and there it was just the boys that were coming up and all of these girls
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wouldn't have the chance or the courage really to acknowledge like, hey, I want to find out
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more about what she's doing or what they're doing on stage and stuff.
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So I think a lot about these actual practical things happening.
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Not practical, but like real life situations happening and the real effect that it has
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on a person just because I think of the real effect that it had on me at the time.
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So yeah.
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Yeah.
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I don't want to go off on too big a tangent here, but that's the thing.
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I know sometimes people get down on social justice and there's a lot of fighting in the
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news and stuff like that, but we're talking about real people, right?
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Real experiences.
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When somebody comes up to you like that and says, you know, you inspired me.
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Yeah.
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That's so meaningful and so powerful.
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So kudos to you for doing that, for taking your platform.
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Thanks for letting me share that.
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I don't often get to talk about that.
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So thank you.
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Yeah.
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I think that's something that we believe it's important too.
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We got to wrap up pretty soon, but I just want to ask you quickly before we move on
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to rapid fire, I think as a music technologist, what do you see in the future?
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What's the future of music?
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Yeah.
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Wow.
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That's such a tough question, Eric.
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We want your perspective.
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Yeah, totally.
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Very honestly, I think there's so many possibilities that I don't think I'd be able to touch all
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of them, but at least from one thing in my current line of sight, I guess, is that there's
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a lot of more people who I think will have the courage to try things out without all
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of these barriers before them.
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So for example, I'm thinking back to, this is a little bit more of an older school stuff
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too, but even going back to the studio, just now Claire mentioned she has this set up as
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a studio, but like 10 years ago, that might not have been the case for a lot of people.
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They wouldn't have been able to do that on their own and have the courage to do their
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things for themselves.
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So I think there's going to be a lot of that.
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I hesitate to use this word, but I think it makes sense in this case, like a more democratic
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approach to music creation.
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It's like everyone kind of has the same tools, and it won't always be the same, but even
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just starting, say, with phones, like if you have a phone, being able to use that as part
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of your creative process, creative technology process, having your phone be your first foray
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into making sound or building beats and stuff like that.
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I think that's going to be something that will definitely be in the future.
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And to that end, I think just even more diversity in the music that we're hearing, not just
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from the people also, but even just styles, stylistically.
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I think a lot of people, when they make music, and this is something that I tell to my students
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and my mentees as well, but it's definitely not, it might be a little bit cliche, but
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it's not an understatement to say that no one else is going to make the music that you're
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going to make, because it's true.
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No one else is you.
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All right, so if you don't make something, no one else is going to do it for you, and
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no one else is going to make it in the exact same way.
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So I think to that end, there's going to be a lot more different types of music styles
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that we'll be hearing.
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Sure, it might sound similar, but I think there's a lot of power in everybody kind of
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realizing their own version of the music that they're hearing in their heads.
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So I think that's kind of what I see in the immediate future.
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I think there's so many possibilities, though, like even the crazy music tech developments
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that are developing all the time, like I was just talking to some of my other friends the
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other day about this, but now it's not just physical controllers, right?
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But I did a little bit of work with this pair of gloves called the Mimiu gloves that are
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basically gloves, but they're controlling music.
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So if you do something like if you make a certain gesture, it plays a certain chord
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or it puts on a certain effect.
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So there's that too, which is like, maybe that's an example of how crazy things will
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get in the most wonderful sort of way.
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Sorry, Tintra.
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Yeah, I saw your video of that.
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That was cool.
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I had no idea that that was happening.
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It's really weird.
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Yeah, it's weird in the best sort of ways.
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And I mean that in like a very wonderful in awe type of way.
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But yeah, that's just a fraction, I think, of stuff that people are developing now.
398
00:21:18,440 --> 00:21:21,160
So who knows what will happen next?
399
00:21:21,160 --> 00:21:22,160
Great.
400
00:21:22,160 --> 00:21:25,800
Well, we really appreciate your insight and your perspective.
401
00:21:25,800 --> 00:21:28,240
So thank you for sharing that with us.
402
00:21:28,240 --> 00:21:31,280
So we're going to move on to our rapid fire questions.
403
00:21:31,280 --> 00:21:32,280
All right.
404
00:21:32,280 --> 00:21:35,400
So this is short and sweet to the point.
405
00:21:35,400 --> 00:21:36,400
All right.
406
00:21:36,400 --> 00:21:38,280
And we'll take turns, the three of us.
407
00:21:38,280 --> 00:21:40,000
So I'll go first.
408
00:21:40,000 --> 00:21:43,280
Number one, what is your comfort food?
409
00:21:43,280 --> 00:21:45,480
Oh my God.
410
00:21:45,480 --> 00:21:46,480
Oh, no.
411
00:21:46,480 --> 00:21:47,480
Oh, no.
412
00:21:47,480 --> 00:21:48,480
This is terrible.
413
00:21:48,480 --> 00:21:53,240
Okay, I'll go for Singaporean food, Chak Kui Teow.
414
00:21:53,240 --> 00:21:55,520
Yeah, okay.
415
00:21:55,520 --> 00:21:57,800
Number two, cats or dogs?
416
00:21:57,800 --> 00:21:58,800
Oh, no, cats.
417
00:21:58,800 --> 00:21:59,800
Oh, no, you said dogs first.
418
00:21:59,800 --> 00:22:07,440
I don't know if you can take that back.
419
00:22:07,440 --> 00:22:09,880
What is your word or words to live by?
420
00:22:09,880 --> 00:22:11,680
Ah, okay.
421
00:22:11,680 --> 00:22:16,480
Word cards, stay humble, don't be late by Iskander Ismail.
422
00:22:16,480 --> 00:22:19,080
Yeah, I know it's short.
423
00:22:19,080 --> 00:22:20,080
It's supposed to be rapid fire.
424
00:22:20,080 --> 00:22:24,640
But I just want to say that Iskander Ismail is a Singaporean composer who inspired me
425
00:22:24,640 --> 00:22:26,320
very much back in the day.
426
00:22:26,320 --> 00:22:31,920
So that was a coat that I took from my mentor who was his mentee, my mentor, Julian Wong.
427
00:22:31,920 --> 00:22:32,920
Hi, Julian.
428
00:22:32,920 --> 00:22:33,920
Julian's watching.
429
00:22:33,920 --> 00:22:34,920
Yeah.
430
00:22:34,920 --> 00:22:35,920
Wonderful.
431
00:22:35,920 --> 00:22:36,920
Thank you.
432
00:22:36,920 --> 00:22:39,280
What is the most important quality you look for in other people?
433
00:22:39,280 --> 00:22:40,280
Wow.
434
00:22:40,280 --> 00:22:41,480
Oh my God.
435
00:22:41,480 --> 00:22:44,480
These are so deep.
436
00:22:44,480 --> 00:22:45,480
It's Yukimi's question.
437
00:22:45,480 --> 00:22:46,480
I can't take that.
438
00:22:46,480 --> 00:22:50,280
That's good, Yukimi, thank you.
439
00:22:50,280 --> 00:22:51,700
Patience.
440
00:22:51,700 --> 00:22:55,800
Very important for sure.
441
00:22:55,800 --> 00:23:02,480
And by the same token, what is the worst quality in people that you want to stay away from?
442
00:23:02,480 --> 00:23:03,480
Cool.
443
00:23:03,480 --> 00:23:07,840
And maybe this is a little bit of myself too.
444
00:23:07,840 --> 00:23:11,240
Bad temperedness, like losing your temper.
445
00:23:11,240 --> 00:23:12,240
Okay.
446
00:23:12,240 --> 00:23:16,120
Name three people who inspire you, living or dead.
447
00:23:16,120 --> 00:23:18,120
Oh my God.
448
00:23:18,120 --> 00:23:29,520
Let's see, my grandfather and my mentor when I was, Mr. Xiao, my mentor when I was in high
449
00:23:29,520 --> 00:23:34,400
school doing music and also Toki Monster.
450
00:23:34,400 --> 00:23:39,760
Which historical figure or composer do you want to learn or take lessons from if she
451
00:23:39,760 --> 00:23:44,720
or he were alive?
452
00:23:44,720 --> 00:23:47,240
Probably Nadia Boulanger.
453
00:23:47,240 --> 00:23:49,760
I love her ideas about sound.
454
00:23:49,760 --> 00:23:51,760
Yes, Nadia Boulanger.
455
00:23:51,760 --> 00:23:52,760
Great.
456
00:23:52,760 --> 00:23:58,360
Which historical figure composer do you wish to hang out with at the bar if she or he were
457
00:23:58,360 --> 00:23:59,360
alive?
458
00:23:59,360 --> 00:24:00,360
Oh, interesting.
459
00:24:00,360 --> 00:24:01,360
Well, maybe Bach.
460
00:24:01,360 --> 00:24:02,360
I don't know.
461
00:24:02,360 --> 00:24:10,720
I think it would be fun to chat with him about all of the same things that he's written many
462
00:24:10,720 --> 00:24:11,720
times.
463
00:24:11,720 --> 00:24:12,720
Probably Bach.
464
00:24:12,720 --> 00:24:17,160
Well, I love Bach too, so we can all hang together.
465
00:24:17,160 --> 00:24:19,520
So my turn.
466
00:24:19,520 --> 00:24:21,840
Name one piece in your current playlist.
467
00:24:21,840 --> 00:24:24,680
Oh, one piece in my current playlist.
468
00:24:24,680 --> 00:24:29,800
I've been listening a lot to a tune called Never Enough by Disclosure.
469
00:24:29,800 --> 00:24:31,280
So that's one piece.
470
00:24:31,280 --> 00:24:32,280
Cool.
471
00:24:32,280 --> 00:24:33,280
All right.
472
00:24:33,280 --> 00:24:35,280
Maybe we'll list that in our Spotify as well.
473
00:24:35,280 --> 00:24:37,560
Name a book title you're currently reading.
474
00:24:37,560 --> 00:24:39,760
Oh, I'm reading quite a few.
475
00:24:39,760 --> 00:24:41,200
Oh dear.
476
00:24:41,200 --> 00:24:44,760
Well, let's see.
477
00:24:44,760 --> 00:24:45,880
What would be a good one?
478
00:24:45,880 --> 00:24:49,880
The reason I hesitated was because the one that initially came to mind, and you can feel
479
00:24:49,880 --> 00:24:52,440
free to edit this out, but it's called Assholes.
480
00:24:52,440 --> 00:24:55,440
So I don't know.
481
00:24:55,440 --> 00:24:59,760
That's why I was like, okay, I probably shouldn't say that.
482
00:24:59,760 --> 00:25:01,760
It's actually in the background over there.
483
00:25:01,760 --> 00:25:02,760
Whoops.
484
00:25:02,760 --> 00:25:05,400
If that's okay, then that's the book that I've been currently reading.
485
00:25:05,400 --> 00:25:06,400
It's very fun.
486
00:25:06,400 --> 00:25:10,280
It talks a lot about the human condition actually and about narcissism, which is why I thought
487
00:25:10,280 --> 00:25:13,280
it was interesting.
488
00:25:13,280 --> 00:25:17,680
Another book that I've been reading is Revisiting, actually, was Becoming by Michelle Obama.
489
00:25:17,680 --> 00:25:20,480
So that's been another one that I've been looking at too.
490
00:25:20,480 --> 00:25:22,280
But yeah, feel free to edit that first part out.
491
00:25:22,280 --> 00:25:23,280
We'll keep both.
492
00:25:23,280 --> 00:25:24,280
Maybe it will be.
493
00:25:24,280 --> 00:25:25,280
Oh no.
494
00:25:25,280 --> 00:25:29,440
You get only one song or piece to listen to for the rest of your life.
495
00:25:29,440 --> 00:25:30,440
What is it?
496
00:25:30,440 --> 00:25:31,440
Oh wow.
497
00:25:31,440 --> 00:25:32,440
That one's tough.
498
00:25:32,440 --> 00:25:39,320
You know, maybe it would be, it would probably be the, yeah, I think I will say, I wasn't
499
00:25:39,320 --> 00:25:40,920
sure about this, but I'm pretty sure.
500
00:25:40,920 --> 00:25:47,680
The Arthur Rubinstein version of Intermezzo in A Me is like one of my favorites all the
501
00:25:47,680 --> 00:25:48,680
time.
502
00:25:48,680 --> 00:25:53,680
It's one of the reasons that I still go back to a lot of classical music stuff, even if
503
00:25:53,680 --> 00:25:56,960
the rest of my world is electronic, because it puts me into a good space.
504
00:25:56,960 --> 00:25:57,960
Yes.
505
00:25:57,960 --> 00:25:58,960
That's exciting.
506
00:25:58,960 --> 00:25:59,960
We have to talk more.
507
00:25:59,960 --> 00:26:02,760
Rubinstein is also my personal god.
508
00:26:02,760 --> 00:26:04,960
So music is blank.
509
00:26:04,960 --> 00:26:07,960
What is the blank?
510
00:26:07,960 --> 00:26:16,960
Music is a world of possibilities.
511
00:26:16,960 --> 00:26:17,960
Awesome.
512
00:26:17,960 --> 00:26:21,960
That is a wonderful answer.
513
00:26:21,960 --> 00:26:26,720
All right.
514
00:26:26,720 --> 00:26:28,720
Thank you so much, Claire.
515
00:26:28,720 --> 00:26:32,160
Before we, before we wrap up, do you want to talk a little bit about Beat Tover and
516
00:26:32,160 --> 00:26:33,160
what it is?
517
00:26:33,160 --> 00:26:34,160
Yeah, totally.
518
00:26:34,160 --> 00:26:35,160
Thanks, Eric.
519
00:26:35,160 --> 00:26:36,160
Thank you so much for having me.
520
00:26:36,160 --> 00:26:37,160
This was so fun.
521
00:26:37,160 --> 00:26:38,160
I'm so excited.
522
00:26:38,160 --> 00:26:41,760
So I'm currently doing this October long project called Beat Tover, where I make a little bit
523
00:26:41,760 --> 00:26:43,440
of music every day.
524
00:26:43,440 --> 00:26:46,800
Previous years, I tried to do a little bit of a theme for every year.
525
00:26:46,800 --> 00:26:51,640
So this year I'm actually doing a new song every day, which is not killing me yet.
526
00:26:51,640 --> 00:26:52,640
We'll see how it is.
527
00:26:52,640 --> 00:26:55,680
By the time this podcast gets released, we will see if I'm still alive.
528
00:26:55,680 --> 00:27:01,360
But yeah, if folks want to follow me, that's going to be at Daltrix, so D-O-L-L-T-R-I-C-K
529
00:27:01,360 --> 00:27:02,920
on all social media platforms.
530
00:27:02,920 --> 00:27:07,920
Or if you look on the greater internet, it is D-O-L-L-T-R-exclamation point C-K in all
531
00:27:07,920 --> 00:27:08,920
lowercase letters.
532
00:27:08,920 --> 00:27:11,200
Sometimes the spelling throws people a little bit off.
533
00:27:11,200 --> 00:27:14,440
But as long as you do the all lowercase letters and the exclamation point, you should find
534
00:27:14,440 --> 00:27:15,440
me.
535
00:27:15,440 --> 00:27:17,240
So that's a little bit of that.
536
00:27:17,240 --> 00:27:18,240
All right.
537
00:27:18,240 --> 00:27:20,520
Well, thank you so much.
538
00:27:20,520 --> 00:27:23,880
That's going to wrap up this episode of the Piano Pod.
539
00:27:23,880 --> 00:27:27,400
Thank you, Claire, for joining us today and sharing all your wonderful thoughts on so
540
00:27:27,400 --> 00:27:28,400
many different subjects.
541
00:27:28,400 --> 00:27:32,760
And once again, I will remind the audience, if you want to find out more about Claire,
542
00:27:32,760 --> 00:27:35,400
her website is ClaireMarieLym.com.
543
00:27:35,400 --> 00:27:40,500
And she also has a website for Daltrix specifically, at Daltrix.com.
544
00:27:40,500 --> 00:27:44,480
Check the description for the links.
545
00:27:44,480 --> 00:27:49,260
If you enjoyed today's episode, please rate and review on whatever podcasting platform
546
00:27:49,260 --> 00:27:50,260
you use.
547
00:27:50,260 --> 00:27:55,120
If you are watching us from YouTube, remember to hit the thumbs up button and be sure to
548
00:27:55,120 --> 00:27:56,640
subscribe to our channel.
549
00:27:56,640 --> 00:27:59,960
You can also find us on Facebook, Twitter, Instagram and LinkedIn.
550
00:27:59,960 --> 00:28:03,240
The links are in the description below.
551
00:28:03,240 --> 00:28:08,600
If you have feedback for us, please leave it in the comments or DM us via social media,
552
00:28:08,600 --> 00:28:14,920
or you can also email us at the pianopodnyc.gmail.com.
553
00:28:14,920 --> 00:28:18,160
And we will see you all for the next episode of the Piano Pod.
554
00:28:18,160 --> 00:28:19,160
Bye, everybody.
555
00:28:19,160 --> 00:28:20,160
Thank you, Claire.
556
00:28:20,160 --> 00:28:21,160
Bye.
557
00:28:21,160 --> 00:28:37,160
Bye, Claire.
