I get that — creating something new is scary. You aren’t sure what people will think of it, and you’re worried it will be received negatively. There’s value in taking influence from your favorite musicians, but by copying them, you’re putting yourself in a position where if your music were to suddenly disappear, nobody would miss you as a guitarist because they can easily find your sound somewhere else.
Ian is a pianist, entrepreneur and professional musician. He started Soundfly to help people really find what gets them most excited musically and pursue it. He’s toured all over the world with his experimental trio Sontag Shogun. Check out his most recent course Building Blocks of Piano or follow him on Twitter at @ianrtemple.
Because of their long, curvy waveforms, low frequencies experience phase attenuation more profoundly than other areas of the spectrum. You may want to high-pass your square wave so that it gives the bass line that extra grit without stepping on the feet of your sine’s big clear lows. Additionally, many producers like to make low-end seem fatter by using stereo widening effects. Use these carefully as the phase interactions between the low end of each stereo side can cause destructive interference. Use the mono/stereo switch on your DAW’s master track to check whether your low end survives when everything’s running through the center channel.
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I’m happy you think it sounds varied! Of course, I’ve been freaking out for awhile about the exact opposite; when I listen I of course hear a lot of similar patterns, progressions and melodies, which worries me a bit. Ultimately, I try to maintain a sort of “been there, done that” mentality to writing new music, meaning that if I find myself venturing into too-familiar territory I look for ways to steer myself towards a new direction.
Last of all, a book for those of us who may have started off home-recording and producing, without taking the time to learn an instrument or music theory. Hewitt lays out a vast array of the basics of musicianship and theory (the circle of fifths, for example) in a way that will make sense to anyone who entered music via DJing, sound recording, or just playing around and doing it themselves. Many of his examples are based around the familiar DAW piano roll, so they will be highly applicable to those who don’t have experience with traditional notation and sheet music.
+ Read more on Flypaper: Thinking of touring to the great white Canadian north? Here’s our guide to the best venues, record stores, cafés, and galleries in Montréal. Go on — get booking!
A great example of this is in Maurice Ravel’s String Quartet in F Major, right at the beginning of the second movement (which starts at 7:41 in the below video). In the second measure, the second violin and viola continue their eighth-note pattern grouped in threes, while the first violin plays descending quarter notes, essentially groups of two eighth notes.
For example, we played a show in Vancouver and made friends with the other artist on the bill. She told us about an “Italian Day” street fair happening the next day, and guess what — we were there! Friends help you get through the monotony of long tours.
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Show promoters and talent buyers don’t work on a volunteer basis. Sure, they probably got their jobs because they have an interest in music, but do you know what they love more than music? Being able to pay for health insurance, eating out every now and then, and having a roof to sleep under every night. If you don’t bring people to your shows, the venue won’t make any money, and there’s only so many favors you can expect them to do for you.
Mentor: Raven Katz
So you want to show off your brand new song to a record label or potential manager, or to book a string of upcoming gigs, or even your friends and family, but there isn’t a producer in sight who could do it on short notice and for less than a few grand. Well, the good thing is that this situation is exactly what Logic Pro is made for.
Now for a bit of push-back on the general tone so far. We (and the panelists in the video) have mentioned how technology can create some dangerous grey areas when it comes to education — such as removing the vital social aspects of learning and of music practice in general, and also subjecting education to frameworks often designed by non-musicians or engineers lacking a diversity of musical knowledge, awareness, and respect (and thus unable to build tools that allow for all modes of musical expression).
The frontwoman of the Israeli group Panic Ensemble’s first solo effort covers a lot of ground. Kraus’ versatile pipes carry her through multiple genres from cabaret to orchestral/Balkan pop, maintaining a sensual curiosity throughout. I’m interested to see whether she brings out a full band; her arrangements are as joyously unpredictable as an early Bjork record.