Slap sounds are played similarly to a tone. Put your hand on the edge of the drum, but instead of playing with a flat hand, you curve your fingers lightly. The contact area is limited to the edge of the palm and the fingertips. The other difference is that your hands rebound immediately after a strike, so the contact time with the skin is as short as possible. Slap tones produce more of a ‘crack’ and a bright sound, but you’ll also notice a little bass resonance. Your hand should bounce off the drumhead so that the fingertip pads flick quite sharply on and off the surface with a slap. The pocket of space under the palm gives it a hollow sound.
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.
Not only is the venue feeding folks, but it’s also providing an opportunity for connections and comfort, and maybe a moment of transcendence from the anxiety and stress of a harsh, uncomfortable, and tragic reality.
Gangsta rap groups
I was born in Amsterdam but raised in Ibiza. I studied music theory and guitar from a young age but suffered from terrible stage fright at my first-ever performance and decided to quit shortly after. I was that kid at school that always had his earphones on listening to music rather than talking to other students. In my early teens, I became obsessed with DJing, and by the time I was 13, I had saved up enough money doing odd jobs for our neighbors to be able to buy my first pair of belt drive “Acoustic Control” turntables. DJing became an obsession and it was my re-entry into music, and for some strange reason, I no longer had stage fright.
“Fat Lip” is an example of what used to be a mainstream genre: pop/punk. It is, unfortunately, no longer mainstream. I freakin’ loved Sum 41. I had a huge crush on their bass player. Anyway, there’s not much in here now that gives me the same angry catharsis.
Jeremy is a Montreal-based musician, sound artist and improviser who loves giving advice to emerging artists on how to make their tours more effective. He writes, records and performs electroacoustic “concrète” music for tape, oscillators and amplified objects and surfaces, as well as solo guitar. He has performed and released material throughout Europe and the UK, Asia, the US and Canada, mostly with his trio Sontag Shogun.
Alisu is an IDM and dub producer who has been a major proponent of Chile’s underground music scene in the last few years. She uses both analog and digital synths so expect to hear everything from fat Moog thumps to wild FM synthesis sounds. What sets her apart is her creative and mesmerizing use of field recordings. There seems to be an underlying sense of nature interwoven into the very essence of her music. It’s almost impossible to describe but it’s as if she’s trying to pull us into an unknown tropical paradise.
Planning to take your creative or compositional practice out of the house sometime soon? These gorgeous residency locations will have your jaw on the floor.
Conceptual art grant
Krumhansl proposed that we’ve heard enough songs in major keys to be able to pick up on what songs in major do, and how they should sound. Just like when you watch enough spy movies, you can basically predict what’s supposed to happen in the spy movie you’re about to watch. Cui says, “I’m assuming that most people hearing ‘I Wanna Dance With Somebody’ would know that it’s in major even though they might not know it’s called major.”
Whether they’re pushing the contemporary boundaries of songcraft in Songwriting for Producers or laying out crushing bangers in our brand new The Art of Hip-Hop Production courses, or carving their own path in a custom Headliners Club session, each one of these students created something to be proud of. We hope you enjoy some new music from these incredible Soundfly artists.
Course: Headliners Club
This international residency program is open to artists across many mediums for one- to three-month long residencies. Artists are given lodging and studio space on a remote island off the northeast coast of Newfoundland, as well as a weekly stipend for materials and day-to-day living. Be prepared to put on your public speaking hat though, as artists are required to give at least one presentation, performance, or workshop during their stay. Residencies open every two years.
I’m hardly the first person to want to hear how Bach sounds over a groove from the African diaspora. Django Reinhardt recorded a similar idea back in 1937.