Author Archives: Kevinernste

Project recorded in lecture

Several of you have asked about having access to the recording made in lecture in order to play around with the results yourself, exploring basic panning and mixing.

Click here to download the Ableton Live project.

(The raw materials are from Cindi Lauper’s True Colors.)

Note: see here for an FAQ about saving Ableton Live projects with all project audio files included.

Some links to listening from this morning’s lecture

Edgard Varere’s Poeme Electroninique … the precursor for our conversation on “What is music?”

Pierre Henry’s “Symphony for a Man Alone”


“I believe that the [tape] recorder is currently the best instrument for the composer who really wants to create by ear for the ear.”

“It is necessary to destroy music”.

Karlheinz Stockhausen’s “elektronische musik”, Studie II (1954):

Pauline Oliveros, we listened to several tracks in lecture, but I wanted you to hear music made in the underground cistern, with 60+ seconds of reverb!

Follow up to Lecture, Sept 8th 2020

I promised some follow-up information from lecture, in particular links for music to listen to and and, for those who had trouble accessing the live lecture, a message to let you know that video from this morning’s sessions is now uploading to Canvas for you to review.

Ordinarily, video from lectures and sections will be online in the “Zoom” tab area under “Cloud recordings”, but since today I had some technical issues of my own (!), I did some slight editing to the video to add a view of items I was referring to that were not visible.

See that video on Canvas in the “Files” area for the course.

Now, some links to enjoy!

My introductory, pre-lecture music from today:

Sounds from the phonoautogram, invented in 1857 by Édouard-Léon Scott de Martinville, with first recordings (played in lecture) in the early 1860’s:

Information here at

How the sounds were “retrieved” from the paper etchings.

The phonautograph in action, video and sound test from “THEVICTROLAGUY“.

Some other music of interest, most caught in the gap between analog and digital…including a pieces by my predecessor David Borden, who worked as a composers at the Moog factory in nearby Trumansburg, NY.

Another of Laurie Spiegel, here a live improvisation with equipment from Bell Labs, analog synthesizers triggered by  computer controller:

Delia Derbyshire’s famous theme for Doctor Who:

David Borden’s “The Continuing Story of Counterpoint #9:

Posting an Assignment 0 blog entry

Please add your own post, rather than a replying to another student. – Prof. E

Digital music lessons


Learn to produce your own music in Cornell’s electro-acoustic music studios or with our own gear.

Topics can include audio recording, editing, mixing, MIDI sequencing, sampling, effects processing, software synthesis, digital orchestration/arranging, scoring to video, music theory, composition, and music production on iOS. We can design a program that suits your needs, interests, and level of experience.

About the instructor:

Eric Feinstein has over 30 years of experience as a composer/producer, having created a wide range of music for dance, theatre, film and television. He has been giving private lessons in digital music to Cornell undergraduates, graduate students, and faculty since 2003.

All lessons for Fall 2020 taught via Zoom.

For an application/questionnaire, or for more information, contact

Microphone sanitation

When visiting CEMC studios, as with any lab space on campus utilizing shared equipment (see Cornell guidance), sanitation will be an important part of studio protocols. Keyboards and mice, as well as the desktop itself will are the most obvious, similar to any shared desk or table on campus. But electronic music studios have additional shared items whose design and sensitivity require specific treatment.


When using common microphones, the following is recommended.

1. Students must wear an approved mask during any microphone use.

2. Use sanitizing wipes provided, clean the microphone body itself, including the front grill. Then proceed to other surfaces you will come into contact with, such as the microphone clip, the cable, and the adjustment mechanisms of the microphone stand.

2. Use a disposable microphone cover, provided on the desk within each studio. You will want to remove this cover when you exit the studio out of courtesy to the next user. If the microphone is covered when you arrive, replace it with a new one, sanitizing your hands and the mic before putting on a new cover for your own use.

Further advice is provided by the Shure microphone company, makers of the mics we’ll be using this semester.

How should I clean my microphone?

Amy lin’s Madeon remix performance

Here’s the performance based on the project we worked with this afternoon in labs.

Migrating Shadows with Prof. Ernste, Saturday, 1pm — Johnson Museum of Art

The Kyle Simpson Chamber Orchestra

Composer Kyle Simpson and his Pittsburgh-based chamber orchestra will perform his original scores alongside a live screening of two of the most popular movies from the silent film era: “A Trip to the Moon” (1902) and “The Kingdom of the Fairies” (1903) by French director Georges Méliès.
Students are cordially invited to join The Kyle Simpson Chamber Orchestra on November 22, 2019 at the DiMenna Center for Classical Music at Mary Flagler Cary Hall at 8 p.m. The admission is $10 for adults and $8 for students.

Kyle Simpson Chamber Orchestra Presents A Trip To the Moon

Hip-hop collective

A number of you have been asking about courses for next semester and I thought this might interest some of you:

MUSIC 3616,C Hip-Hop Collective

This course is open to experienced rappers and beatmakers interested in improving their craft and forging collaborative relationships with other students. Weekly meetings will entail workshopping lyrics and beats, composing collaborative tracks, improvising/freestyling, and developing performance skills.

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