S1, Ep3 - Caro C

Sort of, you know, building on from that point, you work in a lot of education and mentoring, like you said.

What are the biggest barriers you see for young people entering electronic music? You think what are the kind of things that either knock their confidence or?

Adults, dare I say.

There is the technology because it is like, can they...

Is the internet working or can they sign in? Is there storage on their tablets, iPads, whatever it is? Is there enough for the school? Let's say in a school setting, can they get access to them? Yeah.

then you've got the issue of can they carry on doing it at home? Because we all know that a lot of us build our craft independently.

So there's a company called Duranga, for example, who work a lot in schools.

I think they're in tens of thousands of schools.

And the great thing about what they've developed as their U Studio, their DAW, Digital Audio Workstation, is that any child, once they've got a login, any child or young person can log into that on their own and then they can... carry on basically and so they can see how much they're using it but they can carry on on their own and follow the tutorials that are there so i think as much as they can make the tools accessible um at the same time as everyone can do it on their phones now so that's brilliant that's what i see the advance as um and then beyond that yes there's confidence and there's Obviously pressures of timetabling and all that kind of thing and curriculum and the arts and in as an endangered species or endangered subject and.

But to be honest, as soon as you give them it, even the teachers, the teachers are usually the ones that are more scared because they're not touchscreen babies like all the kids are.

So they're usually the ones that, yeah, they want to teach you, but they've got very little guidance on how to do that.

So, yeah.

Once you, we find after an hour, teachers are like, yeah, totally comfortable to teach this now.

And then you'll find that kids, as soon as they get to have a go, they're off.

Yeah.

I mean, I know I'm doing music technology A-level and I'm thoroughly enjoying it.

And my dad, he's a head teacher and kind of, he did GCSE music during like when he was my age.

but he always says to me if I'd have had the opportunity to do something like music tech he'd have absolutely loved it and he like whenever I have a lesson he always oh what did you do during this lesson what did you find out I think it's just great because especially sharing that because music technology is kind of hidden in a lot of the tech and you know I've shared stuff with my dad that you now listen to songs differently and he appreciates you know it's not just the artist it's everything else that goes around with it

Yeah, and I think that's it.

It's that separation of roles, isn't it? We used to have, like, you were a composer.

Very, very few people were composers.

Or you were a player or, you know, something, or a songwriter.

These are all starting to get merged, including... for better or for worse or the management and the bookings and the you know the pr and all that used to be that you know those those people are one one people or one band music music industry machines aren't they and they kind of have to be which has its challenges but it also has that freedom autonomy and if you can It worries me, the whole, do you have to be on social media 24-7 shouting about yourself and become completely narcissistic in order to be popular? That worries me.

But at the same time, there is that possibility, hopefully.