And while this is a solid piece of advice for any type of composer, it’s especially important here. If you can adequately identify the audience for whom you’re writing, you can make them feel nostalgic by using the scale degrees and instruments that they would have heard when they were younger. We’ll get back to this in a moment.
Using whatever format you want (spreadsheet, notepad, stickies) write down the things you want to get done, say, this month. That way, when you sit down to write songs, record music, email a music industry pro, or whatever, you know exactly what you need to do next. Plus, as you cross things off the list, it’s a little encouragement that you’re making progress.
John Entwistle almost didn’t make this list, by virtue of being, well, too good. There are so many great Who songs to choose from, but one melody that tends to stick in my head is the pentatonic major run heard behind the “I tip my hat” refrain in this song. The riff starts at the relative minor and runs down to the root, hitting all five notes of the scale. It’s a simple sequence, but I’ve noticed that scalar walk-downs to the root pretty much always sound good on the bass. (For example, check out the choruses of the Beatles’ “Helter Skelter” and Kiss’ “Shout It Out Loud”). Entwistle repeats this motif several times throughout the chorus with slight variations that keep it continually compelling.
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I use a really small ratio of around 1.5 to 1. This means that once my audio passes the threshold I’ve set, there is very little compression happening to that audio. It’s just a little bit. I’m not trying to squash the life out of it. You can experiment with a little bit higher of a ratio, but know that the lower the ratio the less compression (more dynamics), and the higher the ratio the more compression (less dynamics).
New Artist Model member Saskia Griffiths-Moore used a music video to share a bit of her narrative. She started with nothing but a dream — a desire to sing and create music — and was busking on the streets to make money after quitting her job cold turkey. Now that she’s realized her dream and is supporting herself fully with music, she revisited her old busking spots in London in her music video “Joy of Defeat.”
Patrick McGuire is a writer, musician and human man. He lives nowhere in particular, creates music under the name Straight White Teeth, and has a great affinity for dogs and putting his hands in his pockets.
I’ve learned this tip from experience. I’ve compared myself to other more successful (“better”) musicians and gone into a deep hole. The type of hole where I’m discouraged all day and don’t get very much done at all. So instead of wishing you had some other musician’s success or opportunities, put your blinders on and remember that you are you. Your story of success will look different than every other artist’s.
Absolutely. We didn’t have a blueprint on how to build any of our tech, so there was a lot of trial and error. We were an incredibly lean team for the first three years as we experimented, tested, and iterated our tech to a point that we could prove that our algorithms worked! There were plenty of sleepless nights and countless hours of staring at spreadsheets before we got our classification right. We aren’t done yet either, but most importantly, we have proven that the technology works and, now, we are taking the A.I. to the next level.
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That night, Steve Forbes, ex-Republican Presidential nominee candidate, hosted the show. The band tried to hang upside-down American flags on their set to make a statement about the forthcoming election but were told they could not do that by SNL executives. Being on the show was controversial as is, but in true Rage fashion, they had their roadies put the flags up anyway. Literally seconds before they went on, the SNL crew tried to take the flags down. Rage was ordered to leave immediately and did not get to play a second song.
Take your time. Pick out the sound you think will create the best base layer for your music. But keep in mind that you can always go back and track other instruments and sounds once everything is laid down. Now you’re ready to record your keyboard to the click.
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Unsuk Chin is a South Korean composer now living and working in Berlin. Like her mentor Gyorgy Ligeti, Chin’s incredible technical prowess gives her unique control and precision over her craft. Known for pushing boundaries in October 2017, Chin won the illustrious Wihuri Sibelius Prize, which includes a grant of €150,000, adding her name to a list of composers and former winners that includes Ligeti himself, Stravinsky, Britten, Messiaen, and of course Jean Sibelius. With a seriously impressive portfolio of opera, orchestral, chamber, vocal, solo, and even electronic/electroacoustic work, Chin’s sound world is increasingly broad, challenging, and beautiful.
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