3 Reasons Not to Miss Lost in Boston’s Mmmmaven Showcase

mmmmaven showcase

Tonight, Lost in Sound is presenting a killer showcase of Mmmmaven artists at Allston’s Wonder Bar. We advise you not to miss it, and here’s why:

1. Another Durkin remix is getting buzz

Last week, Durkin released a remix of BOY/FRIEND’s “Never Not Looking” that’s gotten attention from The Fader and others. He’ll also be opening next month’s show with Cashmere Cat, Jerome LOL and DJ Oneman as a part of Together 5, keeping his 2014 hot streak going.

2. Zola is a pro among pros

Charles Mazzola is a producer for #MakeItNew, a resident DJ at Phoenix Landing’s Re:Set parties, and he’s got a versatile repertoire from techno to disco. Did we mention he’s also a Mmmmaven DJ school instructor and has shared stages with everyone from Soul Clap to James Murphy? His resume speaks for itself.

3. Nick Garcia’s playing the Ableton Push

Nick Garcia of HNDMD Records has his hands on Ableton’s cutting-edge hardware: the Push. The highly in-demand controller is a rare sight in the wild, and Garcia is sure to show off everything it can do.

If all that isn’t convincing enough, the cover for tonight is a mere $5. Read up on the details at Facebook and get down to Wonder Bar at 9pm tonight.

Want to become the next artist featured in a Mmmmaven showcase? Get started with a class today.

HNDMD releases new remix collection


HNDMD, the local label for which Mmmmaven’s part-time Ableton instructor Nick Garcia serves as Marketing Director, has a new remix collection out this week via Bandcamp. The 55 minute release features 14 versions of Boston producer Twistyknobs‘ “Abject,” remixed by Garcia and many others.

If you’d like to learn a bit about remixing yourself, one of Mmmmaven’s many course offerings might pique your interest.

@Ableton Pop-Up Lab at the @MFABoston


Last week, we were tasked with bringing our new music laboratory out of Central Square to put it in front of the public at the Museum of Fine Arts’ Columbus Day open house. Every holiday Monday, Boston’s world-famous art institution opens its doors for free and allows the public to roam its endless hallways filled with art, art and even more art. It is always crowded.

What we were expecting was teenagers and/or college students gravitating toward our computers, controllers and desktops, all programmed with different psychedelic music in honor of the museum’s “Hippie Chic” exhibit. Curator Jasmine Hagans was forward-thinking enough to invite us.

Our Ableton experts Nick Garcia and Moduloktopus had designed “sets” or suites, featuring famous psychedelic music, from the Beatles to the Velvet Underground. All four of the sets were loaded onto separate computers with three headphones each. Our lead station featured the Ableton Push hardware, provided to us by a member of the Berklee Electronica Club.

What actually happened was remarkable. We had been placed next to a watercolor classroom where many kids were cycling through. And so, as opposed to the older people who we expected to take an interest in the program, we were inundated with child after child, usually with an accompanying adult or parent. These kids, most no older than 12, would sit at a station for long periods of time, fascinated with the QuNeo and its inventive programming. Parents were astonished that their attention was kept for an extended period of time. They didn’t quite understand how it worked or why, they just loved that their kids were so into it. And so were we.

(At the beginning of this video you can hear a little girl exclaim “I’m a DJ!”)

As we continue to unveil classes within the lab, we are surely plotting one for kids and should have more information on that in the months ahead. We do offer private tutoring for your son or daughter right now however.

Inquire within or email sarah@mmmmaven.com to reserve your spot in our music production school. It’s for kids … of all ages.

Introduction to Synthesizers part 2: Filters

Bob Moog

Just as important as the oscillator is the filter. This is where the audio goes to next after it is generated by the oscillator. A filter in a synth works the same way as a filter in any situation which is to say it allows certain things to pass while stopping others. There are 4 types of filters that see widespread use. Any others are simply variations of or different combinations of the 4 main filter types.

The 4 main types of filters are high pass, low pass, band pass, and band reject or band stop (commonly referred to as “notch” filters). Below is a useful image that can help visualize what exactly these filters are doing.

In these images, the X axis represents frequency while the Y axis represents amplitude (commonly referred to as level, gain or volume)
In these images, the X axis represents frequency while the Y axis represents amplitude (commonly referred to as level, gain, or volume)

High pass filters are extremely useful. Every sound in a song that isn’t contributing to the bass is filtered with a high pass filter to some extent. This removes any presence the sound might have in the low end leaving room for the bass. Ableton Live’s EQ plugin has a nice graphical display, clearly demonstrating the effect of a high pass filter. You can see the boom of the low frequencies on the left hand side and how the orange high pass filter is taming some of that boom.


The band pass filter has another great sound. Band pass filters allow only the frequencies within a certain range to pass, stopping all others. Wah pedals are a great example of band pass filters in action. Think of the opening riff of Voodoo child and how it sounds like the guitar is almost saying “wah wah”.

The opposite of a band pass filter is a band reject filter (notch filter). Notch filters are most commonly utilized in a very useful effect called a phaser. Phasers use multiple notch filters moving up and down through the frequency of a sound. The best way to get familiar with this is to listen and train your ears (really thats the best way to master any musical tool). In the beginning of the track Ages by Mmmmaven’s own Nick Garcia (Twitter), the piano has a very nice phaser moving through it. This creates rich and luscious motion in the sound.

Low pass filters are also often used, allowing the low frequencies to pass while attenuating or stopping the frequencies above the cutoff.

Cutoff is a parameter found on every filter and it refers to the frequency which the filter is centered around. A great example of a low pass filter with a cutoff slowly moving up is in the first minute of this unreleased track from Deadmau5 (Twitter) titled All I Have. Notice how the main chord synth starts out fairly bright. Then the cutoff moves down very quickly stifling the synth, and slowly moves upward allowing the bright higher frequencies to come through.

Another important parameter on filters is resonance (also referred to as “Q”). The simplest explanation of resonance is that resonance amplifies those frequencies just before the cutoff, creating a more pronounced cutoff curve. The more resonance is increased, the easier it is to hear the filter cutoff sweeping through the sound. A great example of very pronounced resonance in a synth is the bass at 5:10 of this Claude Vonstroke (Twitter) remix (although I recommend listening to the whole song). Note the vowel like qualities of the synth and the high pitched peak generated when the resonance is turned up (in this case way up).

All of these filters are great, but these examples wouldn’t sound so good if the filter cutoff wasn’t moving or being changed overtime. Next we will take a look at Envelopes and LFOs and see how they are used to create motion in otherwise static sounds, adding to their character and making them evolve over time.

These articles only scratch the surface of music production, discover much more in our Ableton Live classes!