David Gray Teaching Dossier · 2015-02-18 · Teacher!Dossier!David!Gray! 2! DavidGray’’ Tele:’’ ’CA:416.707.2863&US:310.766.6896’ Email:’’ ’[email protected]’&’[email protected]

Revised November 1, 2014

Teacher Dossier David Gray 2

David Gray Tele: CA: 416.707.2863 & US: 310.766.6896 Email: [email protected] & [email protected] Websites: www.daveyjames.ca & www.canadianrecordings.ca


TABLE OF CONTENTS TABLE OF CONTENTS ........................................................................................................................... 3 A. ACADEMIC BIOGRAPHY .................................................................................................................. 4 B. CURRICULUM VITAE ........................................................................................................................ 5

SUMMARY ................................................................................................................................................................ 5 CURRENT POSITIONS ......................................................................................................................................... 6 EDUCATION, CERTIFICATION, HONORS, PAST TEACHERS AND SUB DISCIPLINES .............. 6 ACADEMIC EXPERIENCE ................................................................................................................................... 7 MUSIC INDUSTRY EXPERIENCE ..................................................................................................................... 8 AFFILIATIONS ........................................................................................................................................................ 9

C. TEACHING PHILOSOPY .................................................................................................................. 10 TEACHING IN THE MODERN ERA OF MUSIC ........................................................................................ 10 INVITATIONAL LECTURING .......................................................................................................................... 10 TRANSFORMATIONAL READINGS ............................................................................................................. 11 HANDS-‐ON LEARNING THROUGH HYPOTHETICAL AND ISSUES-‐BASED SCENARIOS ...... 11 COLLECTIVE ACADEMIC GROWTH ............................................................................................................ 12

D. CURRENT COURSES, WORKSHOPS AND AUDIO PROGRAM .............................................. 13 1. MUSIC PERFORMANCE, CREATIVITY & AUDIO CREATION COURSES: ................................. 13 2. AUDIO ENGINEERING & PRODUCTION COURSES: ........................................................................ 15 3. MUSIC BUSINESS COURSES: ..................................................................................................................... 17 4. AUDIO & MUSIC WORKSHOPS/SEMINARS ........................................................................................ 18 5. MODERN AUDIO ARTS PROGRAM at CONESTOGA COLLEGE ................................................... 19

E. TEACHER ASSESSMENT ................................................................................................................. 23 ASSESSMENT OVERVIEW & CONTEXT .................................................................................................... 23 COURSE CONTENT ............................................................................................................................................ 23 CLASS ENVIRONMENT .................................................................................................................................... 23 TEACHING METHODOLOGY .......................................................................................................................... 23 CLASS MANAGEMENT ..................................................................................................................................... 24 AREAS FOR IMPROVEMENT ......................................................................................................................... 24 ABOUT THE ASSESSING EVALUATOR ...................................................................................................... 25

F. STUDENT TESTIMONIES: .............................................................................................................. 26 G. LETTERS OF RECOMMENDATION: ............................................................................................. 28 H. PROFESSIONAL MUSIC CAREER: ................................................................................................ 32

PROFESSIONAL ONLINE SITES ................................................................................................................... 32 SOCIAL MEDIA SITES ....................................................................................................................................... 32 MUSIC SITES ......................................................................................................................................................... 32 PAST RECORDING AND PRODUCTION EXPERIENCE ........................................................................ 32 PERFORMANCE HIGHLIGHTS ...................................................................................................................... 35 20 CAREER PERSONAL HIGHLIGHTS ........................................................................................................ 35


A. ACADEMIC BIOGRAPHY David Gray is scheduled to defend his dissertation in April of 2015. His PhD in Ethnomusicology specializes in the audio engineering and music production techniques of multi-‐award winning Canadian music producer Daniel Lanois. He holds a Masters of Fine Art from the California Institute of the Arts in World Music and a Bachelors of Music from Loyola University New Orleans in Jazz Studies. He also studied Fine Art and Music for Film for three years at Santa Fe University in New Mexico. He teaches courses that include audio production, sound design, electroacoustic music and theory, Jazz and Roots music of North America and the Caribbean, American popular music and comparative musicianship and analysis. He also teaches graduate and corporate seminars in recording technologies, world percussion performance, evolution of the North American drum set and rhythm, understanding creativity, music improvisation and ethnomusicology research and interview techniques. Gray has conducted extensive research in Texas, Louisiana and Mississippi focusing on the history of drumming from the American Civil War to the beginning of Rock n’ Roll, and the music of the Ewe people in the Southern Volta Region of Ghana, West Africa, as well as African contributions to American and Canadian popular music. His most recent research project is focused on new recording techniques with designing a new model for capturing audio. His theoretical interests include open source community educational systems, transculturation, improvisation and participatory music practices. Gray is currently a co-‐director and co-‐designer of the Modern Audio Arts Program at Conestoga College with Blue Rodeo’s Canadian Music Hall of Fame recipient Bob Egan. He is also teaching courses in Sound for TV and Film in Conestoga’s Media and Design department. Gray has been approved to develop a three-‐term graduate degree program in the recording arts centered around his dissertation research on Daniel Lanois’ production techniques. Gray is also currently writing a book: Improvised Recording Techniques. Gray’s musical career spans two decades of working in Los Angeles, New Orleans, Santa Fe, New York and Toronto and he has performed on, produced and engineered hundreds of projects and continues to do so at his boutique sound laboratory Canadian Recordings (www.canadianrecordings.ca). He started producing and engineering after working as a part-‐time assistant to music producer Rick Rubin in Los Angeles. Gray has also performed and recorded with artists from major labels Columbia, Wind Up, Warner Bros. and Capital records and is continuing to tour North America, Asia and Europe. His peers regard him as a supportive accompanist and a musical instrumentalist. In Canada, Gray performs regularly with his innovative bass and drum design with several local and international bands. "Bass and drums at the same time? You’re a heavy cat!" (Daniel Lanois and Brian Blade). He also participates in community music projects that involve pre-‐teens and teens with learning disabilities and chemical dependency issues. He has helped to bring visiting artists from Asia and the US to Canada and promotes active collaboration between community arts activists in university, college and corporate programs.


B. CURRICULUM VITAE

SUMMARY University educated ethnomusicologist, multi-‐instrumentalist musician, music producer, recording engineer and music/audio technology educator with deep expertise in artist relations and capturing sound. Teaching music ranging from advanced graduate level university students to beginner elementary school. Implicate a unique teaching technique that is a creative combination of practical hands-‐on experience and academic theoretical research in the fields of music performance, audio recording and creative development. Professional musician with national and international touring experience and a practicing consultant, coach and educator to senior management at Tech companies, management companies, Dean’s and Professors at Universities, Colleges, Grade Schools and indie artists pushing ahead in their careers. Gray is also an owner of an independent music recording and artist production company. 1. STRATEGY: 2. EDUCATION POSITIONING:

a.) Skilled educator, developer and communicator of music theory and performance, sound production, music business, artistic strategies and creative planning. b.) Quick study of music business drivers and focused thinker, good at carving out music production, business strategic paths and value creation opportunity. a.) Talent in grasping teaching industry issues and education niche, then positioning classes and seminars to competitive advantage. b.) Deep understanding of diverse audiences, from employees, music consumers, government, investors, artists, bands and atudents. c.) Adept in translating technical music theory, audio technology and music business language into concise, layman terminology.

3. BUSINESS DEVELOPMENT:

a.) Key role in entrepreneurial start-‐up music educational and recording programs that grew into autonomous businesses in less than one year. b.) Built and grew a new recording studio business segment. c.) Counselor and music coach to developing music companies, universities, colleges, high schools, artists and small sound and production businesses. d.) Adept at presentation in artist development and delivery of artist creative vision. Success in closing sales and completing projects.

4. LEADERSHIP: a.) Team-‐focused, results-‐oriented, hands-‐on education and management style. Know when to follow and lead. b.) Creator and missionary of organizational vision, education goals, financial outcomes and music business values. c.) Open, consistent interactions on all levels. d.) Developed high-‐performance teams.


CURRENT POSITIONS

• ADJUNCT PROFESSOR @ Conestoga College Media and Design Department. • CO-‐FOUNDER, CO-‐DESIGNER AND CO-‐DIRECTOR of the Modern Audio Arts

Program. • COURSE DEVELOPER @ Cal State University Channel Islands • GUEST LECTURER: topics -‐ music, music business, record production,

entrepreneurship, marketing, creativity, improvisation, drumming, world percussion and the impact of music technology on music industry.

• RECORD MAKER, SOUND RECORDIST, AUDIO CREATOR @ Canadian Recordings • MULTI-‐INSTRUMENTALIST PERFORMER: National and International touring and

studio musician. • WEST AFRICAN DRUMMING INSTRUCTOR @ Cal State University Channel Islands

and Conestoga College • SOUND DESIGNER @ Flannel Tone Audio

EDUCATION, CERTIFICATION, HONORS, PAST TEACHERS AND SUB DISCIPLINES

• DOCTORATE IN PHILOSOPHY CANDIDATE (PhD) in Ethnomusicology (specialize in audio engineering and music production), York University, Toronto expected completion date April 2015

• MASTER OF FINE ART (MFA) in World Music, California Institute of the Arts, Los Angeles 2000 -‐ 2001

• BACHELOR OF MUSIC (BM) in Jazz Studies, Loyola University New Orleans, Louisiana 1997 -‐ 1999

• INTERNATIONAL JAZZ WORKSHOP AND FESTIVAL (Jazz Studies Certificate), Banff Centre for the Arts, Canada, Summer 1998

• BACHELOR OF FINE ART (Highest Honors, #1 GPA 3 terms in a row) in Film and Fine Art Studies, Santa Fe, New Mexico 1994 -‐ 1997

• PAST TEACHERS AND MENTORS: a. Johnny Vidocavich, New Orleans US, Drum Set theory and improvisation b. Kenny Warner. Banff CA, Music theory and improvisation c. Joe LaBarbra, Los Angeles US, Drum Set Jazz theory and improvisation d. Joey Warnoker, Los Angeles US, Studio Drumming Techniques e. Charlie Haden, Los Angeles US, Free Improvisation & Upright Bass f. Kobla & Alfred Ladzekpo, Los Angeles US, Ewe African Drumming, Singing &

Dance g. Bob Egan, Kitchener CA, Pedal and Lap Steel Guitar h. Rob Bowman Toronto CA, Research and Interview Techniques

• SUB DISCIPLINES: Music, Ethnomusicology, Musicology, Cultural-‐Anthropology, Record/Music Production, History Of The Recording Industry, Jazz, Blues, New Orleans Brass Band, Electronic Music, Electroacoustic, Music Industry, Music and Audio Technology, Intellectual Property, Entrepreneurship, Life Skills, Drums, History Of The American Drum Set, World Percussion, Ghanaian Music, North Indian Classical Music, North African and Persian Music, Square Neck Dobro, Pedal and Lap Steel Guitars, and Taoism.


ACADEMIC EXPERIENCE CALIFORNIA STATE UNIVERSITY CHANNEL ISLANDS, Los Angeles October 2014

• Course Development for the Music Performing Arts Department • Responsible for designing the West African Drumming and Culture course,

organizing delivery methods, materials and weekly times and class meetings. MODREN AUDIO ARTS PROGRAM AT CONESTOGA COLLEGE, Kitchener January 2013 – Present

• Co-‐Director and Co-‐Designer of the Ontario certified two year audio recording and production program with Bob Egan.

• Teacher for 8 of the MAA courses. Students range from Dual-‐Credit, Post Graduate and Continuing Education.

• Responsible for educating students, class design, organizing notes and materials, preparing lessons and weekly meetings, grading and generating test questions for a weekly three-‐hour class.

CONESTOGA COLLEGE, Kitchener May 2013 – Present

• Teacher for Audio and Post-‐Production courses in the Media and Design Department. Intro to Media Productions & Intro to Audio.

• Responsible for educating students, class designing, organizing notes and materials, preparing lessons and weekly meetings, grading and generating test questions for a daily three-‐hour class.

ONTARIO INSTITUTE OF AUDIO RECORDING TECHNOLOGY (OIART), London March 2014

§ Guest Lecturer § Responsible for information delivery and educating students on the fields of

recording technology, engineering, music production, music business, entrepreneurship, marketing, and impact of music technology on music industry.

YORK UNIVERSITY & UNIVERSITY OF TORONTO, Toronto August 2007 – May 2013 • Teaching Assistant • Responsible for educating students, class designing, organizing notes and materials,

preparing lessons and weekly meetings, grading and generating test questions for professors Rob Bowman, Barry Elmes, Rob Simms, Larry Graves, and Kwasi Donyo.

DAVEY JAMES INC., Santa Fe, New Orleans, Los Angeles and Toronto January 1994 -‐ Present

• Private Instructor, Consultant and Music Coach, • Responsible for educating students through private lessons, clinics, master classes,

corporate seminars and community education workshops. CAMELOT KIDS ELEMENTARY SCHOOL, Los Angeles February 2004 – July 2005

• Enrichment Music Teacher (for 1 and a half years) • Responsible for introducing different styles of music, weekly lessons and monitoring

the students grades 1-‐3 HIGHLAND ELEMENTARY SAUGUS SCHOOL DISTRICT, Los Angeles September 2000-‐January 2003

• Music Teacher (for 2 and a half years) • Responsible for teaching grades 1-‐5 weekly lessons for the African drumming and

dance, drum kit, hand and body percussion and marching drum classes


CALIFORNIA INSTITUTE OF THE ARTS (CalArts) & UCLA, Los Angeles September 2000 – December 2001

• Teaching Assistant (for 2 years) • Responsible for arranged meetings, conferences and programming schedules for

Professor I Nyoman Wenten for the class ‘History of Indonesia Gamelan’ (Balinese and Javanese)

LOYOLA MARYMOUNT UNIVERSITY, Los Angeles December 2000 -‐ May 2001

• Teaching Assistant (for 2 years) • Responsible for generating notes, materials, lessons, tests questions and weekly

monitoring for Professor Dr. Paul Humpreys in his two classes titled ‘Musical History of the Far East’ and the ‘African Music Workshop’

ORLEANS PARISH SCHOOL DISTRICT, New Orleans, Louisiana January 1998 – December 1999

• Instructor of Drums and Percussion (for 2 years part-‐time) • Responsible for teaching traditional New Orleans drumming workshops and clinics

to students at various Elementary, Middle and High Schools throughout the greater New Orleans area. The program is affiliated with the inter-‐city youth program “Teach for America”

MUSIC INDUSTRY EXPERIENCE CHRISTIE DIGITAL, Kitchener Ontario Summer 2014

• Sound Designer and Music Composer for the Digi-‐Play game unit for McDonalds and Cineplex.

• Responsible for composing music, audio sound design and audio playback system for four digital interactive projection games.

DANDY INC. Kitchener Ontario January 2014

• Sound Designer and Music Composer for the mobile phone and tablet application “Picture This”.

• Responsible for composing sound recordings for an interactive application for IOS, Android and Blackberry systems.

CANADIAN RECORDINGS, Los Angeles and Toronto July 2001 – Present

• Owner and Audio Engineer • Responsible for overseeing recording studios and an independent music production

companies’ artists, production development and product placement MARK BRYAN AND COMPANY, Pasadena December 2005 – November 2006

• Personal Assistant (for 1 year) • Responsible for organizing and handling Mr. Bryan’s personal and business affairs.

Mr. Bryan is the author of The Artist Way at Work and Codes of Love CINASPIA FILM COMPANY, Los Angeles May 2005 – September 2005

• Sound Technician (for 5 months) • Responsible for audio equipment and mixing of sound for the weekly produced

movie screenings in the Hollywood Cemetery


INTERSCOPE/A&M/GEFFEN RECORDS, Los Angeles January 2004 – December 2005

• Personal Assistant (for 2 years part-‐time) • Responsible for keeping Jeff Norskog's personal and business needs in order while

on tour. Mr. Norskog was the manager of the music group The Pussycat Dolls. I worked for Mr. Norskog periodically over two years

M.C.T. RECORDING STUDIOS, Malibu November 2003 – December 2004

• Director of Musical Operations (for 1 year) • Responsible for overseeing all studio, music production and audio engineering

needs for a rehabilitation center affiliated with The Grammys (Music Cares) SET MASTERS AND PROPTOLOGY FX INC., North Hollywood June 2003 -‐ December 2003

• Vice President (for 7 months) • Responsible for rebuilding a prop and fabrication corporation’s product production,

development and placement strategies AMERICAN RECORDINGS, Los Angeles February 2003 – June 2003

• Personal Assistant (for 4 months part-‐time) • Responsible for all aspects of personal and production needs for Lindsay Chase and

music producer Rick Rubin (Johnny Cash and Audioslave) THE FIRM MANAGEMENT COMPANY, Los Angeles January 2002 – June 2002

• Marketing Research Consultant (for 5 months) • Responsible for traveling to different cities examining how marketing plans were

being executed for head of marketing Al Masocco (Krystal and The Backstreet Boys) and manager Peter Katsis (Korn and Limp Bizkit)

SOUNDTRACK MUSIC ASSOCIATES, West Hollywood May 2001 – September 2001

• Assistant (for 5 months part-‐time) • Responsible for copyright ownership research and generating suggestion music lists

for Music Supervisors John and Patrick Houlihan: Academy Award Winner Training Day, Bubble Boy and Sweetest Thing

AFFILIATIONS

• Society for Ethnomusicology • Association for the Study of the Art of Record • Grammys (Music Cares) • Musician’s Union (Los Angles) • SOCAN, BMI, ASCAP • New Orleans Parish Prison Rehabilitation Center • CAMH Detox Center • Teach for America Volunteers • Zildjian, Evans Drum Heads, Remo, Premier drums -‐ Past Endorsements


C. TEACHING PHILOSOPY

My transition from being a professional musician and record producer to becoming an educator was motivated by my desire to share my learning and experience with others. This was a natural progression for me: I find that academic education has many similarities to making records because I enjoy helping musicians and music enthusiasts reach their inner potential. It is important for me to be a member of a collage and/or university because learning is a high priority for me as both an educator and life-‐long learner. My love of teaching comes from my own positive experiences as a student, and my desire to provide such an experience for my students. My passion for teaching stems from my belief that fundamental music performance and audio engineering issues are intricately connected with technology. I feel a sense of responsibility to educate future generations of musicians and audio engineers about the pitfalls of the old industry, as well as prepare them for the new industry that is changing before us, as I have been fortunate enough to be a part of both eras through my experiences in the music business. My ultimate goal as an educator is to facilitate the growth of my students to achieve the skills necessary to persevere to help them achieve their creative and personal goals.

TEACHING IN THE MODERN ERA OF MUSIC

My teaching philosophy has grown and evolved from my many years of sharing my knowledge and experience in academic, professional, and personal settings. In our current modern musical era, I believe that the lines separating a musician from a recording engineer no longer exist as technology has evolved to allow anyone and everyone to be able to write, record, and release their product to the world. My belief in finding success in recording music is to be overly prepared and ever-‐ready to capture the special moments of truth, sincerity, and free-‐creativity – the advance of technology has simply made it easier to do so.

As an educator in the modern era of music, my three fundamental beliefs regarding teaching and learning are as follows:

1. Create an inviting, open and positive learning environment 2. Spark inner and collaborative enthusiasm for ongoing learning and creativity 3. Instil and provide a solid foundation for life-‐long education

I accomplish this by applying a variety of strategies based upon core educational principles that encompasses cognitive functioning, learning theories, welcoming diversity, instructional planning, and fair assessment. These core educational principles are utilized throughout my academic instruction through my invitational lecturing style, academic readings that I have written and developed to stimulate a student's personal growth and creativity, and the use of hypothetical and issues-‐based scenarios as hands-‐on learning tools in my classroom.

INVITATIONAL LECTURING

As an educator, I see myself as an experienced and academic facilitator to support the growth of my students. As such, my lecture style is invitational in that I welcome student input, idea generation, and whole-‐class collaboration.

In my lectures, I often present musical and engineering problems to my students, and invite them to brainstorm possible next steps and solutions to address the issue. I facilitate this discussion by asking open-‐ended questions, help explore possible answers generated by the class, and tackle the issue as a collective group. Upon exploring their possible


solutions (as a whole-‐class inquiry), I lead students through a step-‐by-‐step derivation or analysis of possible approaches to the issues and their solutions. By inviting my student’s input first, I am able to couple their own understanding and creativity with my academic knowledge and experience to provide a much more well-‐rounded and meaningful lesson for my students. By giving my students an active voice in my classroom, everyone involved is provided an opportunity to not only learn, but share their knowledge as well.

I also invite my students to provide musical examples and speak about their knowledge of the piece to the class. Doing so allows all participants to share their understanding and experience for group learning. This technique empowers and helps my students advocate for their strengths and provides fresh perspectives to my teachings.

By utilizing my invitational lecturing style to bring my students together as equals, I am able to make my classroom a learning community.

TRANSFORMATIONAL READINGS

In addition to the academic curriculum readings and research I assign, I provide my students a book I have written to help my student’s achieve their greatest peaks of musical creativity and achievement through daily positive action. This book aims to do so by:

• Increasing the awareness of their musical expression (and what may hinder it). • Providing tools and techniques to expand upon their creativity and be more

productive. • Presenting conceptual strategies, techniques, and inspiration to overcome

creative hurdles. Through small daily steps in positive creative action, students will be able to free themselves of their past musical baggage to reach new levels of creative freedom and expression through their art and production. This will empower them to not only help themselves reach new creative peaks, but to also support their future interests and clients in reaching new expressive heights.

By providing readings that increase both their academic and musical self-‐awareness, my goal is to make my students more resilient and prepared to solve any issue or creative hurdle in their creative musical practice.

HANDS-‐ON LEARNING THROUGH HYPOTHETICAL AND ISSUES-‐BASED SCENARIOS

It is my firm belief that music and audio recording cannot be taught or learned solely through lectures and readings: there has to be a hands-‐on element, regardless of the skill level of the student. This provides students an opportunity to make their learning a more personal endeavour, and by doing so, make it more meaningful to them.

Music and audio engineering education uses an entirely different part of the brain than written language. Therefore, it must be practiced and assessed in non-‐verbal ways. Because of this belief, I use hypothetical and issues-‐based scenarios extensively as one of my primary delivery models in instruction. Many of my student assessments are problem-‐based assignments that not only help educate the student about the topic at hand, but also allow students to practice their problem solving skills that they will use for the rest of their careers.

I often present musical and engineering problems in my lectures and lead the students through a step-‐by-‐step derivation or analysis. By also assigning hypothetical and issue-‐based scenarios, I can assure that my students have thoroughly grasped the music and recording ideas I've presented in my lectures, and can use the theory to solve real-‐world scenarios. Because of the element of spontaneity in the musical creative process, my


hypothetical and issue-‐based scenarios often present new teachable moments that would not have manifested itself through lecturing alone.

My students have found student-‐centered instruction very rewarding because it allows them to practice their academic learning in real-‐world scenarios. I encourage student collaboration in my hypothetical and issue-‐based scenarios and hold group-‐sessions for this process to occur. However, I also make myself available and within reach to provide guidance and aid should they require it. This not only helps the students overcome some of their fears in an open and invitational manner, but it also provides me an opportunity to gain insight on their current progress and understanding of the material. The use of hands-‐on learning through hypothetical and issues-‐based scenarios is invaluable to me as an educator because I can receive immediate feedback of their progress as an unobtrusive observer. From my observations of the students, I can improve my lecture components and can consistently improve upon my assessment practices based upon their immediate experiences.

COLLECTIVE ACADEMIC GROWTH

As a life-‐long learner, I am constantly striving to improve my practices as an educator, recording engineer, and musician. Every experience I have gained as an educator (from every institution, term and course) has provided new challenges and opportunities for my students and I to grow, change, and improve together. Every lesson I teach gives me the chance to promote fun learning through engaging activities, spark enthusiasm in my students, and provide them the means to build a solid foundation for their life-‐long education. My approach to teaching is the same as my approach to making a record: I try my very best to become a servant, or of-‐service, to the people I am helping in order to capture all the special moments (whether teachable or musical performance) within the community that we build together.


D. CURRENT COURSES, WORKSHOPS AND AUDIO PROGRAM The following are courses, workshops and a program that David Gray has taught, delivered, co-‐designed and co-‐directed.

1. MUSIC PERFORMANCE, CREATIVITY & AUDIO CREATION COURSES: Course Name: Introduction to West African Drumming and Culture Course Description: This introductory course delivers an applied, hands-‐on approach to African drumming techniques relevant in traditional and contemporary drumming styles in West Africa. The students will learn to perform diverse ceremonial and recreational music and key fundamental elements in West African rhythm, melody, form and structure. Students will experience traditional African oral learning methods, listening exercises and music analysis through rehearsals, discussions, readings and listening. Students will also become familiar with the construction and basic maintenance of African drums.

The purpose of this course is to explore West African culture through drumming and music performance. This course offers practical hands-‐on instruction in selected drumming repertory from the countries Ghana, Togo, and Benin, West Africa. Students will be expected to learn hand and stick drumming techniques using a variety of African percussion instruments. Students will also learn to sing songs related to specific drumming traditions and understand integral dance styles related to the drumming. No history of drumming prerequisite required.

Course Outcomes:

1. Illustrate African drumming through performance. 2. Develop a greater understanding of West African culture, history and music. 3. Discuss and assemble musical forms and theory used in West African

drumming. Example: call and response patterns, multi-‐layered part performance, compositional form and structure.

4. Identify and describe key African languages, traditions and relationships between spoken language and drumming.

5. Distinguish between various historical and social practices associated with performance in African drumming traditions.

6. Discuss the construction and maintenance of a variety of West African drums:

7. Develop an appreciation for teamwork and community spirit inherent in the West African performance practice.

Course Name: Understanding Creativity for Musical Creative Practice Course Description: This course teaches students to integrate theoretical and experiential approaches in the musical creative process and apply techniques for improving flexibility and originality in artistic thinking. The students will analyze and explore a variety of music, interdisciplinary art and creative writing as a means to develop self-‐expression and aesthetic sensibility. Students will apply methods to creative musical workflow with a unique collection of tools based on the mental, physical, emotional and spiritual aspects in human connection to art. Students will also engage in projects and explore significant musicians, thinkers, artists, examination of art works, and hands-‐on exercises to develop their own creative thinking skills.


Course Outcomes:

1. Discover techniques to enhance musical creativity. 2. Analyze different methods of creative problem solving such as observation,

definition, representation, introspection and decision-‐making. 3. Demonstrate and employee effective productivity and management skills in

creative thinking. 4. Discuss and explain different musical composition practices and create

applications. 5. Research, examine and differentiate between creative and innovative

thinking styles. 6. Demonstrate effective communication, group performance and diversity,

evaluation and constructive criticism. 7. Practice problem-‐solving skills, risk taking, paradigm shift and paralysis.

Course Name: Fundamentals of Beat Production Course Description: This fundamental course delivers an applied and hands-‐on approach to drum and beat production relevant to the current music marketplace. The students will learn to construct, perform and record a variety of grooves for contemporary popular music. This course will explain the essential components of the acoustic drum set, beat programming, world rhythms, drum machines, sampling and groove looping by analyzing both classic rhythmic theory and drum programing exercises. Students will also become familiar with creating and manipulating beats with digital samplers and software instruments within an iPad and Mac computer.

Course Outcomes:

1. Describe beat production, programing, looping and sampling. 2. Explain and illustrate the fundamental elements of contemporary rhythmic

theory and world beat composition. 3. Compose and arrange beats with iPad, laptop computers, software

instruments and music IOS applications. Course Name: Introduction to Electroacoustic Audio Creation Course Syllabus: www.electroacousticaudiocreation.wordpress.com Course Description: This course will provide a brief history of the basic themes and elements in electroacoustic music from both the classic school (e.g., Cage, Eno, Schaeffer) and the modern school (e.g., Deadmau5, Teebs, Daft Punk). The students will work within apps to compose and manipulate soundscapes with techniques such as sampling, electronic composition, IOS recording and found-‐sound organization among others. In addition, students will build their own personal sonic brand by studying, analyzing and emulating a broad array of styles within the electroacoustic realm (e.g., hip hop, dance, ambient). Students will also focus on the newly-‐evolving role of the sonic producer of electroacoustic music to prepare them to adapt and contribute in the modern audio marketplace.


Course Outcomes: 1. Construct both classic and modern school electroacoustic sonic productions

with the IPad and apps. 2. Explain the function and role of electronic based music, and demonstrate an

understanding of the electroacoustic styles. 3. Explain acoustic and digital sound properties and characteristics. 4. Manipulate electroacoustic compositions through the digital audio recording

chain

2. AUDIO ENGINEERING & PRODUCTION COURSES: Course Name: Introduction to 21st Century Recording and Technology Course Syllabus: www.21stcenturyrecording.wordpress.com Course Description: This course melds traditional audio theory into creative and experimental recording techniques using contemporary technology -‐ the iPad and the Mac Laptop. Students will engage in hands-‐on-‐training in the art of capturing sound with a portable recording device preparing them for both contemporary and future recording scenarios. Students will also focus on the roles and the dynamics of personnel in the recording environment to prepare themselves to adapt and contribute in the modern audio recording marketplace.

Course Outcomes 4. Construct a modern approach to audio recording based on both historical

and 21st century techniques and philosophies. 5. Explain the roles and functions, as well as the relationships of personnel

involved in the audio recording process. 6. Demonstrate the differences in the sonic properties and recording options

for common instruments (the voice, acoustic guitar, electric guitar, percussion and electronic keyboards).

7. Practice both acoustic (microphones) and direct (D.I. and USB/digital signals) recording techniques.

8. Complete common audio recording chain signal paths. 9. Employ sound and sonic manipulations. 10. Operate a digital audio workstation.

Course Name: The Essentials of Audio Mixing and Pro-‐Tools Course Syllabus: www.essentialsofaudiomixing.wordpress.com Course Description: This introductory course illustrates modern and creative audio mixing techniques based on traditional mixing theory and practices. It provides the students with hands-‐on-‐training in the art of mixing sound on iPad and Mac Laptop computers using Digital Audio Workstations and Pro Tools software platform. The students will focus on the key elements in which sound is mixed on a digital “In The Box” recording console. They will learn signal processing, and signal flow and mix multi-‐track sessions. The history of analog to digital mixing will be examined as well.


Course Outcomes: 1. Create audio mixes with modern audio techniques and technology. 2. Explain and illustrate the theoretical fundamentals of audio mixing. 3. Demonstrate an understanding of signal processing applications. 4. Discuss and employ post-‐mixing tasks and processes

Course Name: Introduction to the Daniel Lanois Approach: Course Description: This introductory course illustrates the musicianship, engineering, mixing and production techniques of multi-‐award winning Canadian music producer Daniel Lanois. Students will learn the essentials of Lanois’ organic recording approach and digital signal processing mixing techniques to achieve the Lanois “Flesh and Machine” signature sound. This course also provides students with hands-‐on-‐training in the analog linear recording style, key outboard equipment, musical instruments, performance mixing techniques and how to apply Lanois’ techniques to a modern recording console and DAW. The history of analog recording and Lanois’ career will be examined as well.

Course Outcomes: 1. Create sound recordings with Daniel Lanois’ organic recording technique

and audio equipment. 2. Explain and illustrate the fundamentals of a Lanois production. 3. Demonstrate an understanding of the Lanois signal processing applications. 4. Discuss and employ the Lanois performance mixing technique and general

post-‐mixing tasks. Course Name: Introduction to Audio for TV and Film & Intro to Media Productions: Course Syllabus: www. introtoaudio.wordpress.com Course Description: Students will learn the essentials of audio production, including how to achieve good levels, how to use broadcast microphones and how to digitally edit audio for Radio and Television Productions. This course is a combination of Lab and Lecture components.

Course Outcomes: 1. Explain the operation of conventional broadcast audio equipment. 2. Describe the audio signal path taken from source to final destination. 3. Employ appropriate audio software and hardware to record and play back

various sound sources, as well as editing and mixing sound files to create more complex projects.

4. Identify and explain terms associated with broadcast audio. 5. Compare and contrast analogue and digital technologies. 6. Determine equipment needs for specific remote broadcast functions and

implement appropriate technologies. 7. Identify and explain various audio file types, their uses, advantages and

disadvantages..


3. MUSIC BUSINESS COURSES: Course Name: The Essentials of Touring: Course Description: This course teaches students the essential components of a successful independent music tour. This course will also provide the students with an overview of the touring merchandising process and alternative streams of income. Students will examine what entrepreneurial framework is needed to be successful in today’s transformed music industry and will learn how the post-‐Napster digital age has revolutionized the touring process. Upon completion of this course the students will be able to apply digital tools, marketing strategies and design their own music tour.

Course Outcomes

1. Examine the traditional and contemporary roles of the music touring business.

2. Generate performance and touring opportunities by combining social media and modern digital tools with touring marketing principles.

3. Demonstrate proficiency in digital work practices. Identify revenue stream opportunities

Course Name: 360 Degrees of the Modern Music Industry: Course Description: This course uses an all-‐encompassing, 360-‐degree approach to creating and selling audio recordings in the digital age. This course will provide the students with the innovative and entrepreneurial framework to navigate the radically transformed traditional business functions and practices of the music industry. Students will learn how the digital age has revolutionized the creation and selling of audio recordings. Upon completion of this course the students will be able to draw on the digital possibilities of this revolution to chart their own course through the music business.

Course Outcomes 1. Blend the traditional roles of the music business into a comprehensive,

360-‐degree business model designed for the contemporary marketplace. 2. Generate new business opportunities by combining cutting edge social

media and digital tools with old school marketing principles. 3. Demonstrate proficiency in contemporary digital work practices. 4. Identify short-‐term and long-‐term revenue stream opportunities.


4. AUDIO & MUSIC WORKSHOPS/SEMINARS Artistic and Production Workshops:

1. Philosophy and Production Techniques of Daniel Lanois 2. Philosophy and Production Techniques of Rick Rubin 3. Philosophy and Production Techniques of Danger Mouse

Music Workshops:

1. Ethnic Percussion and Rhythms in Modern Music 2. Drumming Master Class 3. Building Beats for Modern Music In The DAW Box 4. Advanced Beats Building 5. History of the Blues – Acoustic 6. History of the Blues – Electric 7. Fundamentals of the Lap Steel Guitar 8. Fundamentals of the Keyboard and Music Theory

Recording Workshops:

1. Microphone Techniques 2. Advanced Microphone Techniques 3. iPad, Tablet and Smart Phone Recording 4. Advanced I-‐Pad Recording 5. Garage Band Recording 6. Advanced Garage Band Recording 7. Fundamentals of the Digital Audio Workstation 8. Advanced Recording Techniques for Pro-‐Tools 9. Mixing Techniques 10. Advanced Mixing Techniques 11. Early Blues Recording Techniques and Technology 12. Recording Vocals 13. Recording Acoustic Guitars 14. Recording Electric Guitars and Bass 15. Recording Drums 16. Advanced Recording Drums 17. Introduction to Mastering

Technology Workshops:

1. Sound and Vision: Integrating Garage Band with I-‐Movie 2. The iPhone and iPad as a Modern Musical Tool 3. Video Production with Smart Phone’s and Tablets.

The Musician’s Life Workshops:

1. Survival Skills for the Modern Musician 2. Jobs and Revenue Streams for the Modern Musician 3. Techniques for Creativity 4. Creativity in Music Production


5. MODERN AUDIO ARTS PROGRAM at CONESTOGA COLLEGE This three-‐semester Ontario Certified program will prepare the graduate for a career in the field of audio recording. Students in this program will take the knowledge and skills here and apply them with a focus on making a living in the rapidly changing, contemporary music business. These days, to survive as an “Audio Recordist” one must be proficient in a wide array of music creation disciplines (e.g., production, engineering, composition, arrangement, performance) and music business specialties (e.g., A&R, marketing, management, publicity, publishing, booking). This full year of study allows students to gather knowledge and skills across both the creative and business spectrums of music. Students will generate audio recordings by sourcing the talent and nurturing the creative process through producing, engineering and mixing recording sessions. They will then create revenue streams by working with their talent to market and sell their recordings. These recordings will be broadcast over the campus radio station and posted online for worldwide exposure. Admission Requirements:

-‐ Graduate of related post secondary program or equivalent -‐ Applicants with 3 to 5 years of professional experience will be considered for

admission based on interview and portfolio presentation to the program team members.

Admission Procedures:

-‐ Applicants will be required to attend an interview session with program team members and present a portfolio of work related to the field of music creation, music business or audio engineering.

-‐ Program Outcomes:

1. Apply assessment and networking skills to find opportunities they can develop, record and promote.

2. Record, produce and mix audio into content that meets industry standards and requirements for traditional and new media.

3. Develop and refine interpersonal, group and problem-‐solving skills required to compete in today’s business environment.

4. Perform the roles of engineer, producer and entrepreneur in a variety of technological, physical and social settings.

5. Generate creative, sonic and business identities to promote themselves and the audio they produce.

6. Develop entrepreneurial and networking skills to create revenue streams and opportunities.

7. Formulate creative thinking skills and abilities to assist in the fields of both audio creation and music/new media businesses.

8. Synthesize the contemporary digital media tools into a skill set for audio creation and businesses development.


MODERN AUDIO ARTS Program Design (Two Year Course Sequencing):

Level One – 21 hours 21st Century Recording (3 hour class, 1 hour lab) Students will be introduced to I-‐Pad recording on the Auria and GarageBand platforms and will learn the basics of Audio Theory, Microphone Techniques, Audio Processing, Signal Chain and Portable Studio Techniques. The Essentials of Audio Mixing and Pro-‐Tools (3 hour class, 1 hour lab) Students will be introduced to the Pro-‐Tools mixing format and create “ready-‐for-‐public-‐consumption” audio mixes using an “in-‐the-‐box” console, signal processing and signal flow techniques. Bedrock Music Theory and Application (3 hour class, 1 hour lab) Students will learn harmony, melody, rhythm, instrumentation and arranging and how to apply these in the context of audio engineering. Video for the Modern Audio Arts (3 hour class, 1 hour lab) Students will study the history and current intersection of audio and video and learn how to capture and produce footage for contemporary uses of audio. The Application of Analogue (3 hour class, 1 hour lab) Students will learn the history of analogue audio, why it remains a desired format and how to incorporate it or model it in today’s audio environments. Introduction to Electroacoustic Audio Creation (3 hour class, 1 hour lab) Students will be introduced to electronic, electroacoustic and computer-‐ generated music and taught the skills to apply these to both traditional and new media uses.

Level Two – 21 hours Intermediate Audio Engineering (3 hour class, 1 hour lab) Students will continue to refine their engineering skills via in-‐depth use of microphone technique, audio processing, analog and digital consoles, audio theory, signal chain and portable studio techniques. Intermediate Mixing and Fundamental Mastering Techniques (3 hour class, 1 hour lab) Students will continue to refine their mixing skills using Pro-‐tools and the Digital Audio Workstation. They will also apply the fundamentals of Mastering to their in-‐class Mixing projects.


Electroacoustic Music in New Media (3 hour class, 1 hour lab) Students will be introduced to techniques in computer sound composing and digital audio and midi editing. They will focus on multimedia projects and develop software-‐based approaches for transforming audio for new media. 360 Degrees of the Modern Music Industry (3 hour class, 1 hour lab) Students will explore the roles of those involved in the creation and selling of music. They will explore new media and use digital tools to find, develop, brand, market and sell music/audio. Creativity in the Modern Audio Arts (3 hour class, 1 hour lab) The philosophies and fundamentals of creative thinking will be taught and students will learn to apply these to both audio creation and new business development. Advanced Music Theory and Application (3 hour class, 1 hour lab) An advanced study of musical genres and instruments will be presented in the context of creative audio content development.

Level Three – 22 hours Advanced Mixing for New Media (3 hour class, 1 hour lab) Students will transform electroacoustic, computer-‐based and recorded audio into content for various mixing platforms and uses – 5.1, 3D and non-‐linear. They will also explore the world of analog – techniques, tape and outboard gear. Advanced Audio Engineering (3 hour class, 1 hour lab) Students will continue to explore multi-‐track recording, audio theory, equipment and techniques to broaden the scope and depth of their knowledge and skills. Entrepreneurship and Career Mapping for the Modern Audio Arts (3 hour class, 1 hour lab) Students will explore the revenue streams and employment options in modern audio and learn the techniques to “hustle” and make the opportunities a reality. The Foundations of Producing (3 hour class, 1 hour lab) Students will dissect the art, science, philosophy and psychology of the role of the producer and his/her impact on the creative and business sides of modern audio. Advanced Video for the Modern Audio Arts (3 hour class, 1 hour lab) Students will analyze popular video/audio formats (YouTube and documentaries) exploring both technical and stylistic variables for the modern marketplace.


Life Skills for the Modern Audio Arts (3 hour class, 1 hour lab) Students will explore and apply the techniques of Attitude, Fortitude and Perspectitude to manage change, overcome obstacles, move forward and improve communication, commitment, cooperation, collaboration, leadership and conflict resolution.

Level Four – 25 hours Masters of Audio (3 hour class) Students will dissect and analyze the work of the seminal masters that built the foundation of all modern audio. Audio Creation for Digital Media (3 hour class, 1 hour lab) Students will explore and execute techniques for the four pillars of audio for use in animation and gaming – ADR, Sound Design, Foley and Soundscape. Live Sound Reinforcement and Recording (3 hour class, 1 hour lab) Students will develop the skills to assess the acoustical properties of a space and the optimal sound reinforcement needed including how to microphone and wire a stage for live sound and how to run a front of house console. Modern Audio Arts Capstone (3 hour self directed work) Students will create their portfolio by developing the following: a SOCAN-‐registered composition, a Personal Industry Identity and Sonic Brand, a Career Strategy, a Full Spectrum Audio Recording and a Digital Recording mixed for modern media applications, a self-‐generated music video synched to their Full Spectrum Audio Recording and audio developed specifically for New Media. Modern Audio Arts Internship (40 hour field work) Students will partner with a mentor or partner and assist in audio or business creation in a “real world” setting.


E. TEACHER ASSESSMENT Instructor: David Gray Evaluator: Bradley Tyler DeLaire Period of Review: Jan-‐Mar 2014

ASSESSMENT OVERVIEW & CONTEXT For the period of January 6 through March 31, 2014 I sat in and participated as a guest in David Gray’s: Introduction to 21st Century Recording and Technology, Introduction to Electroacoustic Audio Creation and The Essentials of Audio Mixing courses. I had been invited as a local musician and performer to provide musical content for the students to record, criticize and discuss. My professional career as a fully accredited Second Language Educator allowed me to simultaneously assess David’s teaching abilities, methodological approaches and teaching techniques. At his request, I was happy to provide this short and impartial assessment.

COURSE CONTENT To begin, learning objectives and course outcomes were clearly explained and written on the online website for the college students. I found David’s depth of knowledge on the history of audio recording, of Western European music, and on musical theory impressive to say the least. He is well informed and his knowledge is at times encyclopedic. This is an important factor as the nature of the course by design was to challenge orthodoxy and conventional practices, and as a result, the entire audio engineering studio was reduced to use of a single iPad and select microphones. I have recorded 3 albums to date, and know the industry quite well. This was highly innovative and unique content, factoring in current economic realities, rapid technological developments in sound forging and manipulation, and lack of student/artist access to expensive space, equipment and tools. Class discussions, debates and lectures were often open source, meaning that content was molded and shaped by the students themselves. This customization boosted intrinsic motivation and retention of information.

CLASS ENVIRONMENT David spent little time impressing the students with his background, industry connections and status. Rather, he addressed the class in a warm, friendly and approachable manner. This lead to higher student inquiry and participation and his excellent use of humor quickly lowered student apprehension and social anxiety. Names were learnt, and there was an equal distribution of student input and opinion. No one was ever singled out yet students were given adequate time to answer a question he had openly asked. Essentially, he treated these students as adults, maturely and equitably, which was a key factor in establishing an excellent rapport of trust and reciprocity.

TEACHING METHODOLOGY While second language learning and methodologies differ entirely from that of engineering and audio arts, I will comment briefly on David’s technique and approach to learning in general. His method is up to date, eliminating the unnecessary disparity between teacher/student, emphasizing that learning is a negotiation process between teacher and student, rather than a top down, militarized cascading of information to learners in an antagonistic, competitive environment serving only those students with high-‐test aptitude.


The classes were student centered, focusing on hands on experiential learning, which the students enjoyed immensely. I noticed David used the SEDAT model (often used in Corporate Training) Speculate – Explain – Demonstrate – Apply – Test. I was delighted to see this model applied in class. Overall, the most revealing factor in determining a successful methodology is student attrition, absenteeism and tardiness. Students arrived on time, motivated and eager to learn, often staying for half an hour after class. Morale was high and students clearly enjoyed being there.

CLASS MANAGEMENT David used an artful mix of friendly but firm disciplinary tactics. He did not scold anyone for arriving late, or failing to complete homework assignments. He simply took note of those students struggling in particular and took action went it counted. I recall one student in particular, young and lacking focus. This was not for lack of motivation and passion, which David quickly identified, but rather, a lack of cultivated study techniques. David took 30-‐45 minutes after a class to carefully hear the student’s life situation, and outline his home study tasks, customizing them to the student’s current work and economic reality (he could not afford the course equipment). David continued to monitor the student’s progress throughout the course. The tasks were achievable and factored in the student’s interests, concentrating on areas where the student had little knowledge and required support. Rather than calling out the student in class for his lack of focus, David understood that intrinsic motivation and positive reinforcement are far more desirable then classical motivators of reward / punishment.

AREAS FOR IMPROVEMENT David’s confident nature and influential personality make him a most effective presenter and lecturer. His knowledge base is vast and impressively accurate. As a consequence, it allows him to often speak too much about a given topic and class time might have been better put to use with hands on activities. A simple solution is to move the lecture content into a class pre-‐task, which David did in fact do, adapting to the situational needs of the students. This should be done even more often in his case. David might benefit by investigating the Theory of Multiple Intelligences as endorsed by Howard Gardner. This would involve shaping course content and assessments to suit a variety of learning styles. While there are certainly limits to what is logistically feasible, I am sure David would be up for the challenge. Lastly, David struggles with the more indentured, orthodox and established norms, policies and conventions that institutions have. This is not to say he disobeys them, but rather, he struggles to see it from their perspective and vice versa. He is truly pushing the envelope and his ambitions collide with the school’s risk aversion. A balance between the two worlds should be investigated and he will need more patience reconciling these two paradigms. That said, he acts in the best interest of the students, giving them only the most relevant and realistic pursuits and understands that the music industry is a harsh one and job placement is scarce. Unlike many private schools hungry for profit, he does not promise a lucrative career in audio engineering. He is careful not to simply regurgitate material from a knee jerk response to authority, but rather, question its current relevance and how it might be transformed to suit the next generation of young minds.


ABOUT THE ASSESSING EVALUATOR I am a fully accredited TESL Canada member, and hold a Standard One Permanent certificate. The requirements are a university degree + 100 hours (methodology and theory), a minimum of 20 hours in a supervised adult ESL / EFL classroom practicum + 1000 hours of registered teaching experience + positive performance reviews. In my 10 years as an ESL educator I have undergone stringent academic peer reviews, practical assessments and critical evaluations on every aspect of my teaching. I administered the TESL program from 2009-‐2011 along with 4 other instructors at Hansa College in Toronto. My main responsibility other than presenting and lecturing on course materials was to train, assess and develop future ESL instructors. My work on the certification team at Gaba Headquarters in Tokyo, Japan from 2011-‐2013 was very much the same. I am confident in my ability to observe and evaluate the suitability of a teacher, evaluate their methods and question their logic, as well as propose suggestions on how to improve as an educator. As such, I give David Gray my full endorsement and believe him to be an outstanding educator of the highest caliber and skill. Bradley Tyler DeLaire. For inquiries please contact: [email protected]


F. STUDENT TESTIMONIES: Chris Forrester – Introduction to 21st Century Recording and Technology:

I really enjoyed this course and learned a ton of new recording techniques. Whether you are experienced or novice, this course has something for you if you want to improve your recording chops. You’ll learn the basics in recording, and you’ll learn more advanced, yet easy to master recording approaches. I really enjoyed dissecting a song each class. I became a better listener and feel more confident in working to capture a particular sound of an instrument. I learned approaches to recording using a single microphone and depth of field, which simplifies the set up and makes me a more complete recording engineer. The new, low cost, mobile techniques taught in this course are a must to know! All in all, a great course taught by a master recording engineer who made it a lot fun. We got to practice on drums, guitars, singers and more. I came away with a renewed passion for recording and now I feel I can capture high quality acoustic recordings anywhere with a simple, mobile setup. Thanks Dave, it was a blast!

Anna Trippita-‐ Introduction to Audio and Introduction to Electroacoustic Audio Creation:

In all honesty this class was amazing. To be blunt I wasn’t into recording or audio or film or anything that this class was supposed to teach me. But Dave made it fun. I probably would have dropped it if we had a different teacher. Dave is able to make things fun even when they’re actually boring, he makes everyone laugh, and gets everyone excited about learning.

Steve Ashtonam-‐ The Essentials of Audio Mixing and Pro Tools:

Music is a lot like wine. You know what you like and you know what you don’t like, but most of us don’t understand why. Much like there is a sophisticated science to making wine, there is a science to the art of music capturing and mixing. Starting to learn the formulae behind the magic leads to increased enjoyment of both. (And they go together very well too!) One of the main things that I’ve learned in this course is how to change the way that I listen to music. I can still listen to it passively, but when I want to hear the “why” in the music, I can now listen “into” the music to hear all of the things that the mixing engineer did to enhance the sound that the artist wanted. I’m starting to learn to identify these things, and have started to learn how to replicate these things. It’s a lifelong learning curve that I’m at the beginning of, but I feel like there’s a good foundation to build upon. This course has allowed me into the front room of a club where the members understand how music works.

Paul Coons-‐ Introduction to 21st Century Recording and Technology:

I have gone from completely inept, to moderately dangerous. Thanks Dave.


Don Rattanasithy-‐ Introduction to Electroacoustic Audio Creation:

Although I’ve always tried to pay a lot of attention to WHAT’S happening in a song or mix, for the first time since taking this course, I’m beginning to understand WHY, which has completely changed how I hear music now. I feel like a whole new dimension of musical understanding has opened up for me. That’s from the perspective of the listener. As a music ‘creator’, I’ve been frustrated in the past with the difficulty of capturing the ideas in my head in a way that others can get it too! For the first time, I feel like I’m taking some leaps and bounds into how I can achieve that in a DAW. Many thanks for an excellent course! I really appreciate your honest approach to how you conduct your class. It was a blast! I look forward to learning more with you.

Vivian Walterita-‐Introduction to Audio:

What I really liked about this course was creating music and getting to know all the different aspects of the creation process. I now have a deeper understanding of what a DAW is and how to use it. I can also pull apart a song, piece by piece, and easily express what I like about it or don’t like about it. Dave’s lesson on Lanois and remaking the sound was very fun and helped to understand more about what a sonic signature is for an artist.

Claude Massicotte-‐ The Essentials of Audio Mixing and Pro Tools:

Dave this class has been a real pleasure. I have been involved in music and live mixing for over 25 years. In this class, I have learned to listen in a different way and discern sounds and sound quality that I never heard before. My older ears may not be the best but I feel that my listening will never be the same. I listen to new music with a completely different approach and I think I appreciate it on many different levels. I now have a desire to do recording and have the tools to take a good stab at it. Thanks for your time, your stories and your honesty.

Holly Clausiusita-‐ Introduction to Audio:

On the first day, I was nervous and it took me awhile to understand the terms, because I had never taken an audio course before, let alone knew how to run a DAW or what it even was. However, this course not only helped me achieve my goal mark, but it taught me how to produce music by myself, and that’s something I can take with me for the future. It was really fun to do this course and I recommend it for anyone who enjoys listening/creating/mixing/ music. This class opened up opportunities for me, and gave me something to look forward to each week. I still am debating on what I’m going to do with my career and future, and I knew at the beginning that music was going to be involved, but now it gives me a clearer perspective as to why I love it so much. So thank you for that.


G. LETTERS OF RECOMMENDATION:

Ref: David Gray, July 24, 2014

TO WHOM IT MAY CONCERN:

This letter provides confirmation that David Gray has been actively engaged in teaching a wide range of courses at Conestoga – from Dual Credit/introductory level courses to intermediate and advanced level music/audio courses across diploma and graduate certificate programs.

David brings a wealth of professional and personal experience into the academic experience, providing students with enhanced learning opportunities. His approach and comprehensive knowledge of music augment the traditional delivery methodologies, appealing to a wide range of learners.

I would be pleased to provide further information at any time and can be contacted as indicated below.

Sincerely,

Regards,

Mark Derro Dean – Schools of Media and Design Communications and Liberal Studies

[email protected]

519 748 5220 ext 3647


Bob Egan Musician, Entrepreneur Blue Rodeo, Conestoga College Kitchener, ON 519-‐500-‐2273 [email protected] August 3, 2014 Re: Reference for David Gray To Whom It May Concern – I have worked closely with Dave Gray over the past decade in a variety of creative, academic and business settings. As a partnership, we have produced audio recordings, developed academic curriculums and consulted for high tech businesses. The longevity of this partnership is a testament to Dave’s work ethic and ability. I continue to work with Dave for the following reasons:

-‐ Commitment: Dave has the necessary fortitude and passion for delivering results.

-‐ Scope: Dave’s thorough research skills provide a broad and deep foundation for planning and execution.

-‐ Creativity: Dave is a font of fresh, multi-‐disciplinary approaches and solutions.

-‐ Style: Dave is likeable and an easy guy to work with. I consider Dave Gray to be a valuable asset to any job or project that aligns with these attributes. Feel free to contact me to discuss Dave Gray’s qualifications further. Sincerely – Bob Egan


Don Rattanasithy John Howard Society -‐ EJS/EJM Workshop Facilitator (Youth Justice Program) Tel: (519) 781-‐2848 Email: [email protected] August 5, 2014 Ref: David Gray To Whom It May Concern: I am an educator with a passion for alternative education and community inclusion. This has led me to my work with United Way KW, the John Howard Society of Waterloo-‐Wellington, and the WRDSB Alternative & Continuing Education. Even from my experiences with the many wonderful people within our region, I can honestly say that there are very few people who are as dedicated and giving to his family, friends, students, or community than Dave. I have had the great pleasure of knowing Dave since becoming a student of his in January 2014. Since that time, I have been able to get to know Dave as a professor, mentor, music producer, collaborator, and friend. I am consistently impressed by his generosity, sincerity, and honesty, and feel blessed to be a part of his great work within our musical and academic community. Dave is a gifted educator who is unique in his vast experience and knowledge in academic musical theory, professional music production, and first-‐hand experience in world music and its recording from his travels because it provides a balance for students that is not only rare, but highly sought for. My experience working alongside him, as a production assistant in his boutique-‐recording studio, has been invaluable to me in my growth and understanding as a musician, artist, and aspiring recording engineer. As a professor, Dave excels in creating a warm and inviting classroom. His openness and invitational style made our classroom a community in a way that cannot be taught – his sincerity and good nature brought the class of 16-‐60 year olds together. The friendships built within that classroom would not have occurred without his kind guidance. He is able to strike a unique balance between musical theory and practical application in a way where my understanding of not only what, but how I could be more intentional in my musical creative practice was invaluable to me as a student. The leaps and bounds I have made under his guidance have opened up a whole new dimension of musical understanding for me, and I am grateful that a person of his calibre and experience has made the leap to become an educator! His work in the musical and academic community is of great benefit to our region. His passion in all he does is infectious, and I am a better person from knowing him. As a dedicated father, educator, and friend, I truly believe that our community is richer for having him. Please feel free to contact me at any time should you have any additional inquires. I would be happy to provide further information for you upon request. Sincerely, Don Rattanasithy, B Env. Sci, B Ed, OCT, CYW


Samantha Pestl, RN, B.Sc.N Public Health Nurse (Child and Family Health) Region of Waterloo 99 Regina Street S., 3rd Floor Waterloo Ontario Canada N2J 4V3 Tel: (519) 575-‐9846 Ext. 5183 Email: [email protected] August 1, 2014 Ref: David Gray To Whom It May Concern: I am a Public Health Nurse for the Region of Waterloo and I have had the great pleasure of knowing Mr. David Gray for three years. Within this time I have been able to witness what a truly generous and conscientious individual he is. As a friend he has proven to be a reliable and extensive support. I truly believe any community that David lives in is better off for having him in it. David has always had many things on the go from school, work, a blossoming career as an academic and professor and a new family. He somehow manages all this and continues to find time to be available for extra support and help for students, friends, community organizations and projects. He has always been involved in community work and available to those in need. David is a great example of dedication and generosity. Please feel free to connect with me if I could be of any help. Sincerely, Samantha Pestl, RN BScN 519-‐807-‐1568


H. PROFESSIONAL MUSIC CAREER:

Gray currently works under the name Davey James and has done so since 2007. The following are selections from his professional experience in the field of instrumental performance, audio engineering, mixing and mastering sound and music production. For more information on Davey James:

PROFESSIONAL ONLINE SITES

• Main website: www.daveyjames.ca • Recording studio: www.canadianrecording.ca • Flickr: www.flickr.com/photos/thisisdaveyjames

SOCIAL MEDIA SITES

• Facebook: www.facebook.com/thisisdaveyjames • YouTube: www.youtube.com/user/thisisdaveyjames • Instagram: www.instagram.com/thisisdaveyjames • Twitter: www.twitter.com/thedaveyjames • Vine: www.vine.co/u/944804392685670400

MUSIC SITES

• ITunes: www.itunes.apple.com/us/album/vol-‐1-‐le-‐processus-‐ep/id498273617 • Bandcamp: www.thisisdaveyjames.bandcamp.com • Soundcloud: www.soundcloud.com/thisisdaveyjames • Amazon UK: www.amazon.co.uk/The-‐Brownie-‐7-‐Davey-‐James/dp/B0088XUUB0

PAST RECORDING AND PRODUCTION EXPERIENCE 2014 BOB EGAN (Wilco, Blue Rodeo) World of Steel (Assistant Engineer, Edit, Mix and

Percussion) Release 2013 2014 CHRISTIE DIGITAL Digital Interactive Projection Game, Digi Play (Sound Designer

and Music Composer) for McDonalds and Cineplex. April 2014 2013 DANDY INC. App Audio Logo Design (Sound Designer and Music Composer)

Released on IOS, Blackberry, Windows & Android Dec 2013 2013 RADIO NOIR ORCHESTRA Self-‐Titled LP (Mixing Engineer) Released Oct 2013 2013 NIGHTS & WEEKENDS Room 414 LP (Producer, Engineer, Mix, Music) Released June

2013 2012 KEVIN MYLES WILSON The Little Things EP (Producer, Engineer, Mix, Master and

Drums) Released November 2012 2012 TYLER BRADLEY Untitled EP (Coach) Japanese Digital Release 2012 2012 CEREBRAL SCRUB? Make It Stink 2 LP (Producer, Engineer and Mix) Ends Meat

Label? Cassette/Digital Released 2012 2012 BEEKEEPERS SOCIETY Twin Fold Sides Single (Steel Guitar) Digital/Video Rel 2012 2012 NIGHTS & WEEKENDS Old Creek EP (Producer, Engineer, Edit, Mix and

Performance) Digital/CD/Vinyl Released 2012 2012 LE JAMES DAVEY Vol 1: Le Processus (Producer, Engineer, Edit, Mix and

Performance) Digital Released 2012 2011 YOUNG EMPIRES (Live Percussion) The Drake Hotel 2011


2011 TENKENS Death in the Family Single (Rhodes and Pedal Steel) Last Gang & Fat Cat Records Released 2012

2011 CEREBRAL SCRUB? Make It Stink 1 LP (Producer, Engineer and Mix) Cassette Released 2011

2011 THE BROWNIE 7' (Produced, Engineer, Mix, Performer, Songwriter) Release 2011 2011 GREADY PEASANTS Self-‐Titled EP (Produced and Engineered) Unreleased 2011 2011 ALISTAIR CHRISTL 8 Songs By LP (Drums) CD/Digital Released 2011 2011 LOVE SHOT Love Assassin Single (Mastering) Released 2011 2010 GIRL AND THE MACHINE Strawberry Lollypop Ep (African Percussion, Steel Guitar

and Dobro) Aporia and Iseed Records Digital Release 2011 2010 JUNZI Self-‐Titled LP (Produced, Recorded, Mix, Songwriter) Digital and Physical

Release 2010 2010 TURKEY XXX Lp (Co-‐Produced, Recording, Mix, Edit and Drums) Self-‐Released in

Taiwan and Canada 2010 2010 DOMINIQUE STEPHANE FRICOT Sea Change Single (Engineer, Edit and Mix) BC

Festival Compilation CD Release 2010 2010 SHAWNEE Letter to You Single (Produced, Engineer, Drums and Steel Guitar)

Unreleased 2010 2009 GIRL AND THE MACHINE Asian Tour (Drummer and Dobro) Aporia and Iseed

Records Winter 2010 2009 YOUNG DOCTORS IN LOVE Self-‐Titled EP (Drummer) Released 2010 2009 IAIN FERGUSON Self-‐Titled EP (Engineer, Edit, Mix, Programer and Steel Guitar)

Digital Release 2009-‐10 2009 MR SPEAKER Self-‐Titled Ep (Engineer, Edit, Mix, Percussion and Steel Guitar)

Winter 2009 2009 BRAKEMONSTER Sitting On Top Of A Gold Mine LP (Producer, Engineer, Edit, Mix,

Programer, Co-‐Writer) 2009 DJ BRAKE Summer Mix (Engineer, Edit and Mix) Released Summer 2009 2009 KEVIN MYLES WILSON Self-‐Titled EP (Producer, Engineer, Edit, Mix, Drummer and Steel Guitar) Digital and CD Release Summer 2009 2009 CELL 213 Intro and Ending Music (5.1 Mix) Summer 2009 2009 STRUMMIN AND STRIPPIN National Canadian Burlesque Rockabilly Tour

(Drummer) Summer 2009 2009 SAMBACANA Self-‐Titled LP (Mix and Edit) Digital and CD Release Spring 2009 2009 KEELY VALENTINE Boys "Beastie Boys" (Produced, Engineer, Mix and Programmer)

Unreleased Spring 2009 2009 PROCON (Drummer) Ginchopolis Records 2009 2008 IAIN NABIL The Prisoner and The King EP (Engineer, Edit, Mix and Drummer)

Digital and CD Release Winter 2008 2008 THE GOOD RUN The Getaway (Produced, Edit, Co-‐Arranger/Writer and Drummer)

Digital Release Fall 2008 2008 LEIGHTON BAIN Ontario Tour w/ The Painted Birds (Drummer) Summer 2008 2008 A HUNDRED MAGIC LIONS Salad (Produced, Engineer, Edit, Mix, Master,

Arranger/Co-‐Writer, Drummer, Bass and Keys) Digital Release 2008 2008 DJ BRAKE Self-‐Titled (Engineer, Edit and Mix) Digital Release Summer 2008 2008 THE CARPS All The Damm Kids Remix -‐ Single (Producer/Remix) Unreleased 2008 2007 CREGG AKA DA GULL (Boy Hits Car) Poems Ep (Engineer, Mix and Programmer)

Unreleased Summer 2007 2007 SAINT MOTEL Bright Nights EP (Drummer and Co-‐Produced) Spring 2007 2006 EMILY JENSEN First Glance EP (Produced, Recorded, Percussion, Pro-‐Tools Editor)

CD Released 2006


2005 BOY HITS CAR The Passage Live Recording and Tour (Drummer) Funded by AKA Productions and the U.S. Armed Forces.

2005 TELECAST Mannequin in Love (Drummer, Co-‐arranged) Funded by Heineken Beer Company. Music Video for the song Mannequin in Love Directed by Joe Tomas. Release Summer 2006

2004 KiM DeFRANCO Moving Forward Track (Produced, Recorded, Co-‐Songwriter, Drummer, Keyboards, Pro-‐Tools Editor) Digital Release 2005

2004 AUDRA MAE Blue Eyes EP (Produced, Recorded, Co-‐Songwriter, Percussion, Pro-‐Tools Editor) Unreleased

2004 EDDIE ROESER from (URGE OVERKILL) How Could You Song (Produced, Recorded, Co-‐arranged, Drummer, Pro-‐Tools Editor) Unreleased

2004 CHRIS TRISTRAM The Sun Track (Drummer, Percussion, Pro-‐Tools Editor) Digital Release 2005

2003 THE STATE OF TEXAS VS. DAVE Self-‐Titled EP (Produced, Recorded, Co-‐Songwriter, Drummer, Pro-‐Tools Editor, Vocal, Guitar) Self-‐Released 2004

2003 NATALIE DAVIDSON Piano with love Track (Produced and Recorded) Unreleased 2003 SERVICE Self-‐Titled EP (Percussion) Released by Little People Records 2003 2003 RENE RUTLEDGE Happily Jaded EP (Produced, Recorded, Co-‐songwriter, Drum

Programmer, Pro-‐Tools Editor, Piano, Vocal) Funded by Interscope Records and Released by Guess Fashion Europe for promotional use

2003 THE FULL CIRCLE The 26 Hour Prop Shop EP (Co-‐Produced, Co-‐Recorded, Drummer, Percussion) Funded by Jason K. Entertainment. Live Music Video for the song Insane shot at the Key Club in Los Angeles on March 23, 2003

2003 ILLKIDD IllKidd Live Video and Recording (Drummer) Funded by Columbia Records and The Firm Management. Live Music Video shot over a two-‐month period of time on a North American National Tour 2003

2003 SHE SAID YEAH Self-‐Titled Demo (Drummer, Recorded) Unreleased 2002 CHARLE HADEN'S LIBERATION ORCHESTRA California Institute of the Arts

Performance Hall Live Performance and Recording Drummer/Percussion) Unreleased

2002 KELDA Self-‐Titled Album (Pro-‐Tools Editor, Drummer, Percussion, Co-‐Songwriter) Released under KSM Recordings

2002 PLAYGROUND MUSIC Songs for The Kids Album (Pro-‐Tools Editor, Co-‐Produced, Co-‐Recorded, Drummer, Harp, Washtub Bass, Dobro, Vocal, Jaw Harp) Self Released

2002 DAMONE ROBERTS Sex With Me EP (Produced, Recorded, Co-‐Songwriter, Music and Drum Programmer, Vocal) Funded and Released under Robert Hayes at Sound Management

2002 GINA APONTE I Need a Real Man Song (Produced, Recorded, Co-‐Songwriter, Percussion, Mandolin, Dobro, Jaw Harp) Released under The Geva Festival and Moose Knuckle Entertainment

2002 SULACO Self-‐Titled Demo/Live Recordings (Drummer, Co-‐Songwriter) Funded by Interscope Records

2001 SUSAN ALLEN'S IMPROVISATION GROUP BBC News Live Recording (Percussionist) Released by The BBC News Network

2000 FLAVOR BOX Walking Toward Your Dream Music Video (Drummer) Directed by Emmy Award Winner Barry Rubinow and released by Lowes Music

1999 BROTHER JIBRIL Tic Toc EP (Producer, Co-‐Songwriter, Drummer) Released 1999 1999 NICK MARSELIC Tribute EP (Producer, Co-‐Songwriter, Drummer/Percussion) Self

Released 2000 1998 BANFF JAZZ ENSEMBLE Jazz Festival Live Recording (Drummer) Released by The

Banff Centre for the Arts


1996 QUINTESSETET Just to Get the Gist of It Album (Producer, Co-‐Songwriter, Drummer, Vibes) Funded By New York Bagel Company and Released under CSF Studios

1994 GRAFFIX Self-‐Titled EP (Produced, Recorded, Co-‐Songwriter, Drummer) Self Released 1994 1992 TABU First Recording and Live Video (Drummer, Co-‐Songwriter) Cassette Self-‐

Released 1992

PERFORMANCE HIGHLIGHTS

Davey James has performed and/or shared the stage with the following musicians and bands: Young Empires, Bob Egan (Wilco, Blue Rodeo), Charlie Haden (Ornette Coleman), Loretta Lynn, Saint Motel, Boy Hits Car, G Love & The Special Sauce, Justin Meldal-‐Johnsen (Beck, Nine Inch Nails), Dan Mangen, Slightly Stoopid, Eddie Roeser (Urge Overkill), Kottonmouth Kings, Ferriby Loinheart, Alien Ant Farm, Audra Mae, Dominique Stephane Fricot, Phantom Planet and Sandy West (The Runaways).

20 CAREER PERSONAL HIGHLIGHTS 1. Rick Rubin: I was a part-‐time assistant to icon music producer Rick Rubin. The few

months I had working for him shaped the way I make records, set up a business and the way I outfit a studio today. I learned things watching Rick work that cannot be found anywhere else in the music and recording world. Working for Rick was an education of a lifetime.

2. Johnny Vidacovich: I studied drums with Johnny V for three years in New Orleans. He

not only shaped my drumming but the way I view life. A man I will always be in debt to. I also studied and had long late night talks with drummers Stanton Moore and Jason Marsalis. All three of these gentlemen gave me insight into the depth in a groove, unmatched by any teacher since.

3. Ringo Starr: I had many late night talks with Richard Starkey known as “The Beatles”

drummer Ringo Starr. Richard taught me about love and compassion but most of all forgiveness of one’s self is the key to personal freedom in music, and that match grip is king.

4. Chris Martin: I set up microphones, talked and watched “Coldplay’s” Chris Martin work

while on the job for Rick Rubin. I discovered an answer that I had been looking for, for decades: What true talent is. Chris was the most down to earth musician I ever had the experience of being in a studio with. Music just dripped from his pores. How I judge musical talent today was shaped by him.

5. Charlie Haden: I studied and played with Ornette Coleman’s Bass player Charlie Haden

for two years while receiving my Masters Degree at CalArts. I learned that every musician is not perfect and it is what you do with your imperfections that make you great. Charlie said, “You have to be a great man first before you can be a great musician.”

6. The Grammys: Built and operated a recording studio affiliated with the Grammy’s

Music Cares Program. I learned the importance of always having the microphones on and ready to capture a great moment.


7. Joey Waronker: Taking drum lessons and watching Beck’s drummer Joey Waronker work. In the small amount of time I spent with him I learned a lifetime of information on how to perform in the studio. Joey showed me how to be a classy musician.

8. First Audio Job: At 16 years old I was a Boom Operator/Grip for a weekly produced

Latin MTV style show called “Ritmo Latino” that was syndicated on Telemundo. The job was to travel around major cities in Mexico to shoot the VJ’s hosting the show. This was the beginning of my journey into the world of Ethnomusicology.

9. DH Peligro: I had lots of late night talks with “Dead Kennedys” drummer DH Peligro. He

taught me what the recording and performing process was like in the heart of the punk era. Most of all he taught me what it is to be human.

10. Eddie Roeser: I recorded and performed with “Urge Overkill’s” Eddie Roeser. I learned

about songwriting from Eddie and the importance of passion in the recording process and that the song has to mean something to the artist.

11. Dean DeLeo: I had several late night talks with “Stone Temple Pilots” guitarist Dean

DeLeo. I learned one the biggest tips I use today in my recordings: “The microphone has no idea how small or big an amp is”. Dean was my first introduction to what it meant to be a father in the music business.

12. Dallas Taylor: Dallas was a mentor of mine for many years and I spending endless

hours with “Crosby, Stills Nash’s” original drummer Dallas Taylor. I learned you never know what is going to come your way, be ready for the unexpected and always have your drums set up.

13. Sandy West: I played drums with “The Runaways” Sandy West and learned her style of

performing. Sandy was one of the first girl punk drummers. She was very powerful and I think of that power before every show I play. Energy is what she passed on to me. Always play the drums like you are in a war and that is going to be the last time you ever play.

14. John Travis: I worked with music producer John Travis while in the band “Saint Motel”.

I learned countless lessons around how to get a great performance out of an artist and being open to anyone helping out in the recording process. Also to let go of control, stay open and when the word “No” wants to come out of my mouth, don’t let it.

15. Denny Laine: I had talks with “Paul McCartney’s” drummer Denny Laine. I found out

from Denny that having a sound is more important than being the all around drummer and that sound you have is your trademark.

16. Duke Bardwell: I played drums with Elvis Presley’s bass player Duke Bardwell. Outside

of history talks about Elvis I learned what swingin’ was really all about. How Elvis swung and Duke gave me tremendous insight into the groove of early Rock n’ Roll.

17. First major gig: It was for 500 people playing drums at 17 years old opening for the

local Houston band Sprawl at the venue Fitzgerald’s. This sparked my love for performing and investigating drums as a way of life.


18. Damian Abraham: I recorded Canadian punk band Fucked Up’s vocalist Father Damian Abraham. I spent an hour recording Damian and learned that being a nice guy goes beyond the skill a musician has. At the end of the session he didn’t take any payment.

19. Michael Bienhorn: I was a runner for music producer Michael Bienhorn during the

recording of Korn’s Untouchables album. I learned that sometimes keeping my opinion to myself is key to keeping a job.

20. Bob Egan: I have worked, recorded and performed with “Blue Rodeo’s” pedal steel

guitarist Bob Egan for the past 6 years. I continue to learn weekly from Bob and most of all: that my time is the greatest currency I have. He is a man among men!

Documents

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