Photo of Ryan McClead

Ryan is Principal and CEO at Sente Advisors, a legal technology consultancy helping law firms with innovation strategy, project planning and implementation, prototyping, and technology evaluation.  He has been an evangelist, advocate, consultant, and creative thinker in Legal Technology for nearly 2 decades. In 2015, he was named a FastCase 50 recipient, and in 2018, he was elected a Fellow in the College of Law Practice Management. In past lives, Ryan was a Legal Tech Strategist, a BigLaw Innovation Architect, a Knowledge Manager, a Systems Analyst, a Help Desk answerer, a Presentation Technologist, a High Fashion Merchandiser, and a Theater Composer.

Capture d’écran de Musescore 1.2 utilisé sous KDE

When I first moved to NY, I wrote all my music out by hand.  I’d buy staff paper with the lines pre-drawn, and I’d fill in clefs, time signatures, key signatures, measures, notes, etc.  This worked great, except that it was extremely time consuming, labor intensive, and my music notation was almost as bad as my handwriting, so even I had trouble reading it.  Thankfully, at about the same time, affordable music notation programs were coming on the market and surprise surprise, I was an early adopter.  These programs connected a PC or Mac to a keyboard using the Musical Instrument Digital Interface (MIDI) and frankly, there were more than a few bugs in the system.

It was not uncommon for me to spend all day, playing music into the computer, reformatting, spacing it just right, and meticulously editing lyrics, only to have the program crash right before I took a break for dinner.  Just like working in word processors of the time, I learned to save my work often, but unlike word processors, saving work was not necessarily an indication that I could actually retrieve my work later. The midi files would often become corrupted at which point, none of my work was salvageable.

The first few tens of times this happened, I was completely dejected. All of my time and effort was wasted.  My brilliant compositions were lost forever, sacrificed to the fickle and wicked gods of MIDI.  I cursed the software, the computer, the keyboard, and myself for being such a lazy composer.  Mozart never had notation software, and he seemed to do okay.  Every time this happened I would sulk for a while, have stiff drink or two, and start all over again the next day.

Over time I began to notice a pattern emerging.  The work that took me all day to do the day before, only took half a day to complete the second time around, and in the process of recreating my earlier work, I invariably streamlined, simplified, and generally created something markedly better than I had done the day before.  This was universal.  I never once ended up with a worse piece of music having lost my original to MIDI corruption. Over time I came to relish in these opportunities.  I would rock up to dinner with friends, beaming with satisfaction and when they asked why I was so happy, I’d say “I lost all the music I wrote today to corrupt MIDI files.”  Needless to say, they thought I was nuts, but in my experience lost to corruption meant that I was going to create something even better the next day.Continue Reading Lessons from a Former Life #3

Once upon a time

In my second year of college I started an independent study course with an associate professor to learn music composition.  I’d had years of study, and I figured I knew just about everything there was to know about the theory of music by that point.  I regularly spent hours in the practice room catacombs writing through-composed rock operas that would one day fill arenas of people all singing along.  I didn’t really need composition lessons, but I figured, what the hell, I’m good at this. I’ll get an assignment day one, turn it around in an hour and spend the rest of the week writing my own stuff.  Easy A.

On day one, I showed up and the professor asked me to play some of my music, so he could understand where I was in my development as a composer.  I played a handful of my latest hits.  These were pieces that all of my friends loved.  One was raucous and loud, with a catchy melody and wild bluesy piano riffs.  One was sweet and quiet, and guaranteed to make every girl’s mother cry.  Some were upbeat and fun, and some were boisterous and stirring.  I chose these pieces to show off my range of styles and emotions.

The professor was very complimentary.  It clearly wasn’t the kind of music he wrote or listened to, but he could appreciate my passion and recognized that I had talent.  He thought about it for a moment and said, “Okay, here’s your assignment for the week, I want you to write a melody.”

“Great, yep.  Any particular style?  Time signature?  Key?”

“Nope, I don’t care about any of that. But I want it to be a single stand-alone melody of at least 32 bars.”

“Cool, uh huh.  Got it. Can do.”

“Using only two intervals.”

I swear someone in the other room pulled a needle across a record at that very moment.Continue Reading Lessons from a Former Life #2

via Giphy

When I was a young man, I hated practicing the piano.  Beethoven. Haydn. Schumann. Boring. And truth be told, I was never a very good pianist, but I loved playing the piano.  I would sit and play for hours, not any written music mind you, I was just exploring the keyboard, trying different combinations, listening to the various harmonies and dissonances that I could create.  My mother tells horror stories of hours of the same 4 chords played with slight variation, over and over and over again and again and again until she would scream, “Don’t you have some MUSIC to practice?”

My piano teacher knew I was never going to be a great pianist, but in the fifth grade she made a deal with me.  For every great masterwork I learned, I could create my own.  From that moment on, I always played two pieces at each recital.  One boring piece some dead white European guy (DWEG) wrote, and one brilliant original McClead composition.
Continue Reading Lessons from a Former Life #1

A man recently approached me during a break in a workshop I was running and said, “You ran innovation at a large global law firm, right?”  No matter how it’s worded, this is always a tricky question.  My title at the firm was Innovation Architect and I was tasked with finding innovative uses of technology to solve problems within the firm.  But I had no direct reports, no budget, and as a ‘non’ at a law firm, it’s hard to say I actually ran anything.  Still, I had some very successful innovation initiatives at the firm, so for the sake of brevity I replied, “Yep.”

His eyes lit up as he inched closer, “Good, you’re the man I need to talk to.”  He glanced from side to side, then speaking just above a whisper asked, “How do you innovate a law firm?”   I laughed, smiled broadly, and told him the truth. “You don’t.”  His eyes fell, and I immediately felt terrible, so I tried to buoy his spirits by asking him a few questions about himself.Continue Reading How do you ‘innovate’ a law firm?

The five-word phrase in the title of this post is likely the second most common five-word phrase I utter on a regular basis.  The most common being, “What a crock of sh**!”

Coincidentally, I uttered my most common five word phrase on Sunday, January 29th when I first heard about the Trump travel ban on

I recently gave a ‘client case study’ presentation at the HighQ Client Forum in NYC (recapped here). On the day, I opened my talk thusly:

I am of the opinion that I could tell you absolutely everything I have done at the firm for the last three years in excruciating detail, with charts,