Showing posts with label beats. Show all posts
Showing posts with label beats. Show all posts

Wednesday, September 29, 2010

For Your Brain to Work, it Helps to Have a Beat

 This is an illustration of how brain rhythms organize distributed groups of neurons into functional cell assemblies. The colors represent different cell assemblies. Neurons in widely separated brain areas often need to work together without interfering with other, spatially overlapping groups. Each assembly is sensitive to different frequencies, producing independent patterns of coordinated neural activity, depicted as color traces to the right of each network. (Credit: Ryan Canolty, UC Berkeley)


(Original Link - http://www.sciencedaily.com/releases/2010/09/100920151806.htm)

When it comes to conducting complex tasks, it turns out that the brain needs rhythm, according to researchers at the University of California, Berkeley.

Specifically, cortical rhythms, or oscillations, can effectively rally groups of neurons in widely dispersed regions of the brain to engage in coordinated activity, much like a conductor will summon up various sections of an orchestra in a symphony.

Even the simple act of catching a ball necessitates an impressive coordination of multiple groups of neurons to perceive the object, judge its speed and trajectory, decide when it's time to catch it and then direct the muscles in the body to grasp it before it whizzes by or drops to the ground.

Until now, neuroscientists had not fully understood how these neuron groups in widely dispersed regions of the brain first get linked together so they can work in concert for such complex tasks.
The UC Berkeley findings are being published in the online early edition of the journal Proceedings of the National Academy of Sciences.

"One of the key problems in neuroscience right now is how you go from billions of diverse and independent neurons, on the one hand, to a unified brain able to act and survive in a complex world, on the other," said principal investigator Jose Carmena, UC Berkeley assistant professor at the Department of Electrical Engineering and Computer Sciences, the Program in Cognitive Science, and the Helen Wills Neuroscience Institute. "Evidence from this study supports the idea that neuronal oscillations are a critical mechanism for organizing the activity of individual neurons into larger functional groups."

The idea behind anatomically dispersed but functionally related groups of neurons is credited to neuroscientist Donald Hebb, who put forward the concept in his 1949 book "The Organization of Behavior."

"Hebb basically said that single neurons weren't the most important unit of brain operation, and that it's really the cell assembly that matters," said study lead author Ryan Canolty, a UC Berkeley postdoctoral fellow in the Carmena lab.

It took decades after Hebb's book for scientists to start unraveling how groups of neurons dynamically assemble. Not only do neuron groups need to work together for the task of perception -- such as following the course of a baseball as it makes its way through the air -- but they then need to join forces with groups of neurons in other parts of the brain, such as in regions responsible for cognition and body control.

At UC Berkeley, neuroscientists examined existing data recorded over the past four years from four macaque monkeys. Half of the subjects were engaged in brain-machine interface tasks, and the other half were participating in working memory tasks. The researchers looked at how the timing of electrical spikes -- or action potentials -- emitted by nerve cells was related to rhythms occurring in multiple areas across the brain.

Among the squiggly lines, patterns emerged that give literal meaning to the phrase "tuned in." The timing of when individual neurons spiked was synchronized with brain rhythms occurring in distinct frequency bands in other regions of the brain. For example, the high-beta band -- 25 to 40 hertz (cycles per second) -- was especially important for brain areas involved in motor control and planning.

"Many neurons are thought to respond to a receptive field, so that if I look at one motor neuron as I move my hand to the left, I'll see it fire more often, but if I move my hand to the right, the neuron fires less often," said Carmena. "What we've shown here is that, in addition to these traditional 'external' receptive fields, many neurons also respond to 'internal' receptive fields. Those internal fields focus on large-scale patterns of synchronization involving distinct cortical areas within a larger functional network."

The researchers expressed surprise that this spike dependence was not restricted to the neuron's local environment. It turns out that this local-to-global connection is vital for organizing spatially distributed neuronal groups.

"If neurons only cared about what was happening in their local environment, then it would be difficult to get neurons to work together if they happened to be in different cortical areas," said Canolty. "But when multiple neurons spread all over the brain are tuned in to a specific pattern of electrical activity at a specific frequency, then whenever that global activity pattern occurs, those neurons can act as a coordinated assembly."

The researchers pointed out that this mechanism of cell assembly formation via oscillatory phase coupling is selective. Two neurons that are sensitive to different frequencies or to different spatial coupling patterns will exhibit independent activity, no matter how close they are spatially, and will not be part of the same assembly. Conversely, two neurons that prefer a similar pattern of coupling will exhibit similar spiking activity over time, even if they are widely separated or in different brain areas.
"It is like the radio communication between emergency first responders at an earthquake," Canolty said. "You have many people spread out over a large area, and the police need to be able to talk to each other on the radio to coordinate their action without interfering with the firefighters, and the firefighters need to be able to communicate without disrupting the EMTs. So each group tunes into and uses a different radio frequency, providing each group with an independent channel of communication despite the fact that they are spatially spread out and overlapping."

The authors noted that this local-to-global relationship in brain activity may prove useful for improving the performance of brain-machine interfaces, or lead to novel strategies for regulating dysfunctional brain networks through electrical stimulation. Treatment of movement disorders through deep brain stimulation, for example, usually targets a single area. This study suggests that gentler rhythmic stimulation in several areas at once may also prove effective, the authors said.

Other co-authors of the study are Jonathan Wallis, UC Berkeley associate professor of psychology; Dr. Karunesh Ganguly, UC Berkeley post-doctoral fellow in the Carmena lab and staff scientist at the San Francisco Veterans Affairs Medical Center; Steven Kennerley, now a senior lecturer at University College London's Institute of Neurology; Charles Cadieu, UC Berkeley post-doctoral researcher in neuroscience; and Kilian Koepsell, UC Berkeley assistant researcher in neuroscience.

The National Institutes of Health, National Science Foundation, U.S. Department of Veterans Affairs, American Heart Association, Defense Advanced Research Projects Agency and the Multiscale System Center helped support this research.


Tuesday, March 2, 2010

TIME IS YOUR ENEMY WHEN MAKING TRACKS


(My session today above)



So....for the last year...I have been practicing exclusively DJ skills with ableton live. I said when I started into it, that it would be a good idea to play around with other peoples music, learn the effects and improv elements to DJing, and then it would be good to apply that to track making. I was SO right. After learning what I have in the last year....i'm ready to stop Djing (just too time consuming)....and get deep into the track making process. For my birthday, my wife bought me the Novation Launchpad....and its a perfect addition (well not perfect, ill explain in another blog all about midipipe) to my setup. I now use the VCM 600, Launchpad, Trigger Finger, Microkontrol, and a little nano kontrol while making tracks. Each have their functions, but that is for another day.

What I didnt realize until recently is that my improv set, containing fixed up samples, huge drum kits with youtube pulled samples, and having all the most used effects....all prepared, has made the track making process a breeze....which brings me to the topic of this post.

TIME SPENT ON A TRACK

Up until recently, I thought it was a good thing to spend 60 plus hours on a track. Working out tiny little details, so you had a track that stands out against the rest....this is not the case. When you spend so much time on a track, hearing that same 4 bar loop over and over....not only do you get sick of hearing it, but your ears do not hear it the same as when you started....or as the ears of a first time listener. Your brain hears it in a whole different way. Now theres the scientific idea that you are hearing it different...which I do not know much about. But what I do know, is how I come to HATE every song I ever finish...by the time I finish it. (up until now) A good electronic track is NOT about how technical you can be....its about a good funky bassline, some nice high frequency percussions that stand out in their own frequency range, and a nice side chained kick. Tuning everything is important too, that is why ableton 8's new frequency shifter tool is a godsend. I have my VCM all mapped out to the 6 main channels for all my improv beats, and then the left side which is normally for effects, programmed to elements of tracks. (Kicks, Snare, 1/4 HH, 1/16 HH). Each has a frequency shifter right above it, so I can easily improv a nice beat, and then find the perfect frequency of each of the elements to match the light percussion...and WALAH! Its like the backbone of the track can be created in minutes.

Now some might say...thats a REALLY lazy approach to making music....you should take more time and pride in making a UNIQUE sound....ok, ok....i get the purist approach to it....but the bottom line is, you can either love your song when you finish or hate it....so get it done as quickly, and with the most talent as possible. That does not mean to make a shitty track....it still takes a couple days to really get a track finished up (not including EQing or Mastering....which I never like to do anyways because I prefer other ears to do it over mine, and its so damn BORING!!!)

Ableton, used with the right controllers, and right template set (handmade to your controllers) can make all the world of difference when making tracks quickly and efficiently....and as a producer....being signed....labeled...managed....you gotta make them funky beats...and fast.

Another key to speed in making tracks is to dedicate a few weeks, months (or even a year like in my case) preparing everything ahead of time. I made many drum pad kits (drum tool within ableton) filled with my most common used samples. For instance, I have 5 full pads (matching my launchpad)(500+ samples) of only sweeps. These are nice samples I have made, found, or purchased. I never know which one i'm going to like, but, I am 100% sure that every track is going to need them. So, just drag in my saved pad (by clicking the save button after making it...the little icon on the right of the pad). Now I can reuse that pad of samples over and over. Having the pads mapped out the the launchpad is great for switching through them before using them...and much more efficient than searching my 700+ gigs of samples and using the mouse. Using abletons transpose button (mapped out of course) is nice to change the key on the fly to match the song i'm making. Now I dont just have sweeps, I have full pads dedicated to chinese instruments by using the "slice to midi" feature. Ive sampled out arhu and dizi instruments in traditional progressions (even from youtube) into nice playable pads...which I can come back to at any time. I dont even want to get into the number of kicks, claps, and snares I have prepared. These are not just samples like ones in your library....these have all been sampled from songs where I liked the kick, cleaned up, and ready to be used on the fly. All helping to maintain speed during the music making process.

You dont want to waste your time on the simple elements of a track....especially when dealing with funky house or tech house like I am doing. They always have a steady kick, always have a nice sharp snare or clap, always have a nice rolling HH....so have those ready to go, and easily swapable.

Another little tip is to have sample making sessions....where you solely make basses for a whole day, or make nice chord sounds..etc. Once you get deep within a synth or soft synth, that is when you find the best sounds. Take extra time preparing nice loops that you may or may not use in the future....but, you HAVE THEM. You never know when that funky bassline you forgot all about just might be the perfect match for that beat your making. Dont just jump into a synth and pick the first sound that comes. Have a session dedicated to sound making, especially basses and melodies. Toss on a nice background beat without many tones, and JAM AWAY. Record one, after another....funk around with the settings....and record more. Thats when you will find your best sounds. NOT EVERY sit down has to be about MAKING A TRACK...you can't go from point A -Z in the music world without going through B,C,D etc (unless your avril lavine or something)....we all just wanna hear some bad ass beats anyway.

Well, all that being said...remember, time is your enemy. Too much is bad. Keep tracks coming, and dont over do it...especially if you are making a living off of it. Its bad enough being in the club night after night and hearing shitty beats over and over in your head...let alone listening to the SAME ONE over and over at home. Keep it fresh....and your soul will be happy with you...and your musical spirit will come into the track rather than being forced. Stay happy while making tracks, and dont make it a job. The more you prepare before hand, the funner your making session will be.