Give yourself a very clear sense of what you’re hoping to accomplish and discuss it with your engineer(s) ahead of time. For me, that looks like setting some clear “Must-Haves” (e.g. all the bass tracks for the entire album) and then a few “Nice-to-Haves” (e.g. a random track of all of us hollering like banshees). Accomplish the “Must-Haves” first and then allow yourself to go crazy on the “Nice-to-Haves” with whatever time you have left.

Program fees: Artists receive a fluctuating honoraria that typically averages around $2,000 to help support the residency costs as well as transportation to the island, etc. The cost to apply is $25.

The goal here is to create maximum acoustic separation from the isolated sound source and any other sound-making objects, in order to get clean tracks that you can mix to your liking later. Examine the layout of your room, and do what you can to achieve this.

Best old rap albums

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Jason Cerf works with musical artists, producers, managers, writers, labels, publishers, and distributors at a global scale. Working with clients at all levels and from so many different countries, styles, and backgrounds has given Jason the opportunity to learn about how individuals and businesses find success in such a mercurial market. From hitting ‘record’ to managing thousands of copyrights, Jason is dedicated to helping others navigate and enjoy the world of music.

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So I wanted to pluck out a bunch of very famous songs from between the ’60s and ’80s where these stalwart rhythm-section warriors were able to eek out a few moments of their own in the limelight — those fleeting moments where any listener can catch the bass filling an iota of space very cleverly, or otherwise blending particularly well with the vocal, lead guitar, or other instrument. We’ll also examine the melodic techniques used in each case.

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Nea grants 2019

By now, your vocal should be sounding great — nice and punchy with just the right frequency balance and the perfect amount of space. But people have short attention spans these days, so you’ve got to shake things up if you want to keep them interested for three whole minutes.

With all of Logic’s inredible instruments, producers often rely on the sound of the samples right out of the box, here’s how to make them more interesting.

The music becomes frantic and highly directional. It is pointing towards a piu’ che sforzatissimo (sfff) octave double-stop in the low register, followed by the apparition of silence, which contributes to hold back the accumulated energy for a moment (2:03). It is this moment of silence which creates a striking contrast with what follows: A powerful “quadruple-stop” (marked with “tutta la forza” — or, “with utmost strength” — and “ferocissimo” — “very ferocious”) in which five octaves divide the notes in the left and right hands (2:09).

Very similar tonalities used this year, as compared to 2017. The major mode gained a little ground this year, chalking one more song, but it’s those sneaky-sultry minor modes that are still dominating. Worth a shout are the upticks in Lydian and Phrygian, and it’s also interesting that harmonic minor scales doubled their representation from four songs to eight. Maybe the V chord is coming back in style after all?

“To B, or not to B.” That is… not a question this year, because none of our songs were in the key of B! It was E♭— minor, specifically — that was our huge winner this year (black keys on the piano in general, really), with low showings for the keys of D and E, once again proving that nobody writes Top 40 pop songs on their guitars anymore.

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