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Nov 10 2021 
Making music production more accessible with Jason Dasent
Making music production more accessible with Jason Dasent
Accomplished musician, music producer, audio engineer, accessibility consultant… there are many strings to Jason Dasent’s bow. He uses innovative production techniques, many of which he helped to develop, to create great music – working with music manufacturers and software developers to help ensure their equipment works for people like him that have accessibility needs. And he does it all with a smile and a positive attitude that is infectious. We had a great chat with Jason and got a brilliant insight into how he works.
For many years, the visually impaired community has been underserved by most music equipment manufacturers, with only a few (ProTools/ Sibelius), Native Instruments (Komplete Kontrol) and Apple (Logic) introducing accessibility to their products within the last few years. However, things are changing, and Jason Dasent has been at the forefront of those changes.
We dropped in (virtually) to his fully equipped recording studio, which comes complete with four keyboards and “tons of hardware”. It’s a happy day for Jason, as he’s just received the news that he got a distinction for his MA. So what led to him studying in the UK?
“I ran a studio in Trinidad for 19 years, and also worked with most of the music studios in Trinidad. Even before accessibility was a word, so I had to find work arounds. As accessibility and screen readers came into play, I became a bit of a ‘tech head’, and was fortunate enough to be able to embrace the technology as it was coming together. I then started developing some of this technology.”
It’s clear that Jason has a very ‘can-do’ attitude, which manifested itself when he came across a significant technical barrier. A software program, Maschine (Native Instruments) was not designed in an accessible way by the manufacturer, so Jason immediately set about making it work for him. “I would not accept that it’s not accessible,” he said. He was able to create macros that worked with the interface to make the program accessible, and before he knew it the manufacturer invited him and his wife (who helped him develop the software) to the UK. Word spread, and then other manufacturers started getting in touch. He decided to stay in the UK to study a Masters in Popular Music Practice and Entrepreneurship, and continues to work with music equipment manufacturers to share his expertise.
Making accessibility the norm
Part of Jason’s mission is to make accessibility ‘the norm’. He held an online workshop this year, called “Normalising the Conversation – The Road to Accessible Music Tech”
The title of the workshop reflects the difficulties that still exist when it comes to accessible music equipment. In a survey conducted in 2018, 63% of music retailers said they are not aware of any specialist products or adapted instruments for disabled people (Make Some Noise research, 2018), and only 25% of music educators felt that high street shops were adequate for their needs when it came to accessible music making. The same research highlighted a lack of confidence and knowledge amongst music retailers when it comes to serving and catering to the needs of disabled customers. Jason believes that a little conversation and empathy can go a long way.
“That’s the first thing, to get over that barrier of it being too sensitive a topic. I have made some of my best friends through people not knowing anything about how I am,” he says.
“Once people get over the possibility of saying the wrong thing, it’s ok,” Jason says. “Because there isn’t really a wrong thing. If you don’t know, that’s perfectly acceptable! You’re not expected to know everything.
“I think I have a duty, being blind- I think God made me blind for a reason – so we can do exactly what we’re doing now. My duty is to show people that hey, it’s cool! we’re a little different, we do things differently – you use a mouse, I use a keyboard… my motto is ‘inspiration, not obligation’ I want to inspire people and be inspired by them.”
Being an inspiration
Talking of being an ‘inspiration’, this is a word that’s divided opinion when used to describe disabled people – some have mentioned that they felt it was a patronising term, while others simply wish to be defined by their achievements alone, and not their disability. Jason has his own take.
“Everyone is entitled to their own opinion, he says. “But I like to use the term ‘differently abled’ as opposed to ‘disabled’. Because I am not disabled. I’ve had a lot of push back on that statement, but I’m going to use it anyway. Because I do certain things a little differently. ‘Disabled’ [to me] means that I don’t do it, or I can’t. Which is not the case.
“However you want to refer to it, people just need to be a little cautious. You don’t want to be someone that people walk on eggshells around. It’s ok, I make jokes about being blind, about myself. I might start a presentation by saying something like, ‘Forgive me, I don’t have my glasses today’ or something.
“For me that breaks down barriers immediately. It makes people smile, and laugh. They let their guard down.”
“I think I have a duty, being blind- I think God made me blind for a reason – so we can do exactly what we’re doing now. My duty is to show people that hey, it’s cool! we’re a little different, we do things differently – you use a mouse, I use a keyboard… my motto is ‘inspiration, not obligation’ I want to inspire people and be inspired by them.”
At the end of the day, I’m just Jay. I’m an open book, that’s the only way we will overcome challenges together. It’s perfectly ok to ask me anything, nothing is off limits.
VIDEO: Watch as Jason Dasent demonstrates the production techniques that help him navigate his studio equipment
Accessibility in retail – it’s good to talk
A strong advocate for overcoming barriers and attitudes to disabled people’s musical experience, Jason is a supporter of the Disability Awareness Training course recently developed by Creative United, the MIA and Attitude is Everything.
Although he has come across retailers who may not be used to dealing with the visually impaired, his shopping experiences have been very positive overall.
“I guess this is because I always try to engage the sales staff by striking up conversation about the equipment I am interested in, going deep into the features etc. This lets them know that I am confident and very comfortable in this environment dealing with such equipment. I also talk to them about their own experiences in the music industry. This engagement puts everyone at ease and creates a relaxed atmosphere leading to the sales staff becoming very interested in what I do and they are willing to spend time with me exploring the equipment.”
Jason has actually made lasting friendships with sales staff who he met at music stores.
“At the end of the day, I’m just Jay. I’m an open book, that’s the only way we will overcome challenges together. It’s perfectly ok to ask me anything, nothing is off limits. That’s the way I’ve always lived my life and that’s what made me successful in what I do! So yeah, ask me anything! Because I’ll ask you anything!”
More about Jason
www.jasondasentinstudio.com -
Oct 13 2021 
Nathan Holder – diversity, music and the Why Books
Nathan Holder - diversity, music and the Why Books
Nathan Holder is a name that’s become synonymous with promoting diversity in music education. He works as a consultant and speaker within the sector to address bias and underrepresentation in music education resources, departments, hubs and boards. He was named International Chair in Music Education at the Royal Northern College of Music earlier this year, and he’s also recently been appointed to the Editorial Advisory Board at Music Teacher magazine.
We’re honoured that he’s found time in his hectic schedule for a quick chat!
Musician, author, speaker and music education consultant Nathan Holder is a passionate advocate for diversity in music education. Drawing on his own experiences as a student, musician and teacher, part of his mission is to help address bias, underrepresentation in music classrooms, departments, hubs and boards internationally.
The books
Nathan has become an accomplished author over the years, drawing on his early experiences in music to release the book I Wish I Did Not Quit…” in 2018 and then going on to launch the Why Music? series of music books, a beautifully illustrated collection that’s aimed at children and young people but is an incredibly engaging read for anyone who loves musical facts and history.
A standout title is Why Is My Piano Black And White? which is billed as the first children’s reference book all about the piano. What’s striking about it is the range of genres it covers, meaning that whatever your musical taste, there’s a section of the book for you – there aren’t many music reference books that reference hip hop, jazz and rock with equal enthusiasm.
It’s also the one Nathan is most proud of. “It was the first under ‘Why Music?”, he says. “The decisions made when putting it all together, have been key in the direction that the other books have taken. But ultimately, it’s like asking me choose my favourite child!
Another title, Where Are All The Black Female Composers? is the first children’s illustrated reference book all about Black female composers where you can learn about Nora Holt, Florence Price, and Errollyn Wallen, through fun facts, quizzes and a breakdown of the music that made them all great.
Challenging the status quo
These books all challenge many commonly held perceptions of music education, particularly the ones that certain genres are superior to others. On a recent trip to the music department at his old school, Nathan was struck by the fact that many of the learning resources and posters from his time there were still being used. . This helped inspire him to create a range of posters with diverse images of composers from the worlds of jazz and classical music – including less known black and Asian women, alongside the more commonly seen Beethoven and Chopin.
I think we’ve been told a specific narrative about which music is most important, and how that music should be learned
We are living within these colonised approaches which have seen many peoples and cultures ‘othered’ in the name of ‘quality’ and ‘tradition’. By starting to remove these barriers, one of the hopes is that people of any background can gain access, and learn about music which help them to make sense of their world and the people within it.
Changes are happening
With music being such a diverse art form, it’s strange to think that music education often struggles to fully reflect this – although things are beginning to change. The Associated Board of the Royal Schools of Music has been criticised in the past for the lack of diversity in its syllabus. According to a 2020 study by Austin Griffiths, a senior teaching fellow at University College London, 98.8 percent of the 3,166 pieces on the latest ABRSM exam syllabuses for 15 instruments were written by white people.
Following an open letter by the Musicians’ Union and a petition on Change.org in 2020 calling for action, the ABRSM announced their Diversity and Inclusion programme to commit to a number of actions, including transforming their syllabus and commissioning new composers.
This is all part of what Nathan refers to as the need to ‘decolonise’ music education. “I think we’ve been told a specific narrative about which music is most important, and how that music should be learned,” he says. “In addition to the decline in the amount of time and resources devoted to music education, addressing those balances has become more and more difficult, even as access to various styles of music and expression has increased. We are living within these colonised approaches which have seen many peoples and cultures ‘othered’ in the name of ‘quality’ and ‘tradition’. By starting to remove these barriers, one of the hopes is that people of any background can gain access, and learn about music which help them to make sense of their world and the people within it.”
Making music learning fun
For those who like to learn in other ways, Nathan also has a “Why?” Podcast series that shines a spotlight on a wonderfully eclectic range of composers, from the Beach Boys to DJ Kool Herc to Sis Rosetta Tharpe. We were curious to know how he chooses who to feature!
“Sometimes I choose someone who means something to me, other times it’s someone (or a band) I don’t know much about,” Nathan says. “It’s all about learning and sharing, and a podcast is a great way to do that. We’ve had over 3600 downloads from all over the world since we launched in February, which I take to mean that it’s been well received!”
More about Nathan
www.nateholdermusic.comThe Why Books
www.thewhybooks.co.uk
