Hendrik David Gideonse XIX was born in Cincinnati and was raised on the Beatles, Miles, Airplane, Willie Nelson, Queen and Prince. He painted, sculpted, skated, hit the hard-core shows and started playing bass. After moving to Boston to attend Tufts, Hendrik started playing with Thumper, a ska band. Tufts graduated him with a BA and an MA in Music Composition. He balanced creativity and web programming while completing work on his first record, “A Cradle for Your Soul,” with Nineteen. After touring, he started to concentrate on producing hip-hop and rock music. Hendrik formed Indecent Music to release albums he produced and to better market his composition and engineering skills. Hendrik has worked with artists like Roger Miller of Mission of Burma, Sandro G the Portuguese rap star, Chris Mascara, The Foundation Movement, Bryan McPherson and Tammi Esquivel. Gideonse is a member of the faculty at the New England Institute of Art.

Bio: Hendrik David Gideonse XIX

Hendrik David Gideonse XIX
Composer, Author, Producer, Engineer, Instrumentalist, Teacher

Current Gigs:
Owner/Producer: Indecent Music (http://www.indecentmusic.com)

Faculty: Audio Production Department, New England Institute of Art (http://www.artinstitutes.edu/boston/)

Education:
Master’s Degree in Music Composition, 1997.
Tufts University. Medford, MA. GPA 3.79.

Bachelor’s Degree in Music, 1994.
Tufts University. Medford, MA.GPA 3.49 Cum Laude with High Thesis Honors.

Diploma, 1990.
Walnut Hills High School. Cincinnati, OH.

I grew up listening to my parents' Beatles, Miles, Thelonius, Hendrix and Airplane LPs in Cincinnati, Ohio. Despite my parents' best efforts to make me a child drummer at the Cincinnati Conservatory, it wasn't until early 80's punk and hardcore inspired me that I wanted to be a musician.

I was in love with the Dead Kennedys, 7Seconds and Minor Threat: intensely emotional and unapologetic political music. After teaching myself a few chords on Dad's Harmony guitar, I rented my first bass guitar and started playing in bands. It was a Yamaha BB-300 bass, inspired by the Fender Precision bass, but with a cooler body.
I was a skateboarder and my music fit well with that kind of activity. I learned to build beautiful ramps--this helped a lot later on when I started to design and build studios. Hip Hop was starting to hit the mainstream around this time and Public Enemy blew me away. It had the intensity and the anger of political hardcore, but a fresh new sound. BDP was another favorite skating music: it just seems to go with the motions.

In 1990, I moved to Boston, to attend Tufts. I worked for Tufts' production company and cut my teeth in live sound reinforcement and mixing. I joined a ska/rock band, Thumper. We played reggae versions of 70's funk and a bunch of originals. This was the first band that I played in that had a lot of fans. The stage experience was a bigger rush than anything else I had ever experienced. We recorded a CD with Joe Cuneo at Downtown Recorders. He recorded the Pixies' Doolittle, so we all worshipped him. The CD did well, but tensions in the band pervaded and I left the group in 1992.

I became a music major. I studied contrabass, harmony, voice-leading, music history. I composed for chamber instruments. I was still playing in bands, but now I was really experimental. I played a lot of freely improvised music with the New Music Ensemble, Freekola and a few highly memorable moments with John Lockwood and Joe Maneri.

I ended up earning my BA and my MA in music composition from Tufts. Soon after graduation in 1997 I formed Nineteen, a band which I would lead and tour with until 2000. I started recording and producing hip hop in 1998 when my recording studio in Medford was completed.

Indecent Music is the label and production house I run out of my house. I created it to release my own records, but I did put out a few others. I produce rock and hip hop recordings and a smattering of other types of music at Indecent. I record digital to Cakewalk's Sonar and I have some superior mics and tube preamps that really sweeten the sounds.

In 2005 I became a professor at The New England Institute of Art. I am still writing songs, producing instrumentals for hip hop performers and teaching musicians and engineers how to improve themselves.