Why I Teach Music and Music Hardware

To date I have a thriving micro channel where I teach all things music, music hardware and When I first started in game development, music and sound were always an afterthought. I didn’t realise how crucial these elements were to creating truly immersive experiences. As I continued my journey, I began to understand the power of sound. It wasn’t just about adding background noise, it was about shaping emotions, building atmospheres and creating feedback loops that pulled players deeper into the world. This realisation transformed how I approached both games and music.

You might think playing music was a part of my life, playing piano at a young age and going through the teenage angst rockstar pipeline Growing up, However the most I was taught at school was the recorder.

My musical journey started when I spent a lot of time playing on the original Nintendo. The music from those games left a lasting impression on me. It was simple yet incredibly memorable. Those 8-bit tunes were full of life, using limited hardware to create unforgettable melodies. This is where my love for trackers began. Trackers, for those unfamiliar, are programs used to compose music, often associated with chiptune, video game soundtracks and the Demoscene. They gave me the control I craved, and I loved creating songs that had a raw, mechanical sound.

As a teen, I began making music on Gameboys, which felt like a natural extension of my love for video game music. It was both a nostalgic nod to my past and a new way to express myself. From there, I branched out to explore synthesisers and other hardware.

To this day, my favourite piece of music gear is the OG Polyend Tracker. It’s the perfect blend of modern technology and the classic tracker interface I’ve always loved. It helps me craft music in a way that feels intuitive and true to the roots of my passion. The way it handles sequencing and sampling gives me endless possibilities to experiment and create, just like when I was making music on Gameboys.

Like many others, the COVID-19 pandemic led me to look for new ways to express myself. I started a music channel as a creative outlet and soon discovered that my tutorials were helping others. It became more than just a hobby; it was a way to give back to the community. I realised that I could be the mentor I wished I had when I first started my journey.

Teaching has always been something I’ve enjoyed. I hold a TAE40110 Certificate IV in Training and Assessment and previously taught game development at a diploma level. Those experiences deepened my love for sharing knowledge and helping others grow. Whether it was guiding students through game design concepts or showing them how to bring creative ideas to life, I found teaching to be incredibly rewarding.

My goal is to continue supporting others as they explore their own music paths. Whether they’re learning how to use hardware like the Polyend Tracker or diving into the world of synthesisers, I aim to bridge the gap between music and technology in a way that’s both fun and informative. Teaching isn’t just about transferring knowledge.

It’s about inspiring creativity and giving people the tools they need to succeed.

As someone who began in game development, I believe music plays a vital role in entertainment and beyond. With the rise of immersive technologies, sound can do more than just entertain, it can create spatial environments that help learners understand material in new ways.

I started learning music through university, where I noticed a clear disconnect between sound design and game design. Sound often felt like an afterthought in the development process, rather than an integral part of the experience. This motivated me to hone my music skills as an indie developer, exploring how sound could elevate interactive experiences. Through this work, I discovered how music and sound can strengthen the behaviour feedback loop, enhancing how players respond to and engage with a game or activity.

By combining music with immersive technologies, we can create experiences that go beyond traditional learning and entertainment, making them richer and more engaging.

Interestingly, I wasn’t a strong speaker when I was younger. Making YouTube videos about music gear has improved my speaking skills. Through these videos, I’ve learned to communicate complex ideas in a simple, engaging way.

Presenting in front of a live audience, however, is very different from speaking to a camera. A live crowd offers immediate feedback. You can adjust your tone or pacing based on their reactions, like laughter, nods, or applause. In contrast, a camera feels cold and intimidating, as it provides no interaction or cues. This lack of feedback can make it harder to gauge whether you’re connecting with your audience. Over time, I’ve learned to imagine the people behind the lens, treating the camera as though it were a supportive crowd.

This journey has not only enhanced my public speaking but also helped me build confidence in both live and recorded formats. It’s been a lesson in adapting to different kinds of communication and finding ways to create a connection, even when the audience isn’t physically present.

One of the most fascinating connections I’ve noticed is the parallel between music gear and immersive technology hardware. Both exist on the edges of the mainstream, often embraced first by early adopters who are willing to experiment and explore their potential. Unlike smartphones or laptops, these tools don’t yet have an intrinsic place in the cultural zeitgeist. For most people, the understanding of how to use them isn’t intuitive, it has to be learned. Often through the school of hard knocks or guidance from others.

This is where I’ve found a unique opportunity to teach and support others. Much like learning a new instrument or music tool, understanding immersive technology requires clear explanations and practical demonstrations. Through my videos, I’ve been able to test out new methods of teaching, breaking down complex processes into manageable steps. My goal is always to ensure that the person on the other side not only understands but also finds value in what they’re using.

By bridging the gap between technology and creativity, I aim to empower others to use these devices confidently. Whether it’s a Polyend Tracker, an analog synthesiser, or a VR headset, these tools can feel overwhelming at first. But with the right guidance, they become accessible gateways to endless creative possibilities.

This approach allows me to contribute to both communities, helping musicians unlock the potential of their gear and supporting innovators exploring the frontiers of immersive technology. It’s incredibly rewarding to see someone have that “aha” moment when it all clicks, and they can finally take full advantage of the tools at their fingertips.

Teaching music and hardware is about more than just sharing knowledge, it’s about fostering creativity. I want to help others discover the joy of making music, just as I did. Whether through tutorials or hands-on demonstrations, I aim to provide resources and inspiration for anyone looking to begin or advance their musical journey. After all, the joy of music is something that should be shared.

In the end, my journey from game development to music hardware has shown me the true impact sound can have. I hope to continue supporting others and pushing the boundaries of what’s possible with music and immersive technology.

Thank you for reading, and if you found a part of this useful. Share so it can help others.

Also go come check out my channel on YouTube