Eventually, the bass line drops down an octave and changes its stubborn pedaling to play chord tones along with the rest of the rhythm section. It starts with the same old D and A. Next, it moves to C♯ and A for the A chord. Then it moves to the B chord but still keeps the pressure on with that non-chord-tone A. Finally, it rounds off with a pleasant, resolute walk-up, bouncing back up between notes of the major scale and A, which is the root of the chord. Classic!
A lot of the time, the student has no particular goal beyond “do this assignment.” So then the critique needs to get creative. I like to ask: If this track is a film or game score, what’s happening in the scene? Students have a lot of implicit knowledge in this area from their own media consumption, so I get wonderfully specific and unexpected answers to this, i.e., “It’s a bar fight in a domed underwater city.” Then we can figure out, how could the track more strongly convey the feeling of a bar fight in a domed underwater city?
With overwhelmingly positive results, we’re happy to share a few testimonials of Soundfly’s Orchestration For Strings course directly from our students.
It’s half-way through 2019 and this year has already been chock-full of great books about music. Don’t stress, we’ll walk you though some of our faves.
And for a bonus, because it’s not strictly designed for musicians, Google Analytics is worth checking out if you’re obsessed with learning more about the fans who visit your website. This platform is designed to help businesses (if you sell music, then you’re a business) better understand and serve their customers, and that makes it perfect for you.
Hein almost mentions this in passing, but it’s an interesting concept to keep in mind these days. Our new “teachers” may in fact be the unnamed, unseen, un-interacted-with software engineers and designers who created the DAWs (as well as the plugins inside them) that we use for almost all things musical in the 21st century. Those folks shaped how we learn about engineering and production, recording, and even composition, and learning to use their software inevitably means learning about those concepts from the lens of the software’s interface and application.
It is real easy to mess up an entire mix with too much processing — in particular, mix buss compression. Over the years of searching the internet creeping on my favorite mixers’ (Jacquire King, Dave Pensado, Chris Lord-Alge, and many more) mix buss compression settings, I’ve found that a little goes a long way.
While many sitcoms have musical episodes, I think Scrubs might’ve outdone the rest. Primarily, because the musical theme actually fits the plot of the episode. The show, which revolves around the daily lives of people working at a hospital, features a variety of hospital patients with different problems and diseases throughout its nine seasons, and this episode involves a woman who literally hears everything anyone says as if they’re singing it.
New pbr can
“This is a fundamental truth about any sort of practice: If you never push yourself beyond your comfort zone, you will never improve. The amateur pianist who took half a dozen years of lessons when he was a teenager but who for the past 30 years has been playing the same set of songs in exactly the same way over and over again may have accumulated 10,000 hours of ‘practice’ during that time, but he is no better at playing the piano than he was 30 years ago. Indeed, he’s probably gotten worse.”
Try to remember, firstly, that you are not wrong for feeling insecure and secondly, that you are definitely not alone in having these feelings as an aspiring singer.
I find musicians make this last mistake all too often. It’s related to not seeing music as a real job. Musicians set themselves up for disaster when they don’t take their finances and contractual responsibilities seriously. Signing a bad contract has killed the careers of many musicians, and not prioritizing financial literacy even if you’re a DIY artist can be just as dangerous.
Like any new entrepreneur, songwriters may themselves experience cash flow problems and look for additional financing to keep the lights on. However, unlike businesses that have inventory to put up as collateral, songwriters have only their intellectual property and the royalties that property can earn. This limits the options from traditional banking sources and requires songwriters to seek out alternative funding that’s available as an advance against royalties or from selling some rights in exchange for quick cash.
The in-depth tone controls also allowed the Space Echo to be manipulated and create some wild effects. If you turn up the intensity control as the echo fades out you’ll get this intense swelling effect that you can hear on many dub or reggae songs. If you change the tape speed or delay rate you’ll hear crazy pitch shifting and oscillating effects. Artists like Pink Floyd, Radiohead, and Bob Marley have all used the RE-201 to create absolutely stunning music.