Hip hop artists
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.
As the company’s beautifully shot and edited video details, vinyl’s dramatic growth over the past 10 years is gravely hindered by a lack of pressing plants with the ability to fulfill the demand. Vinyl production today is expensive and time-consuming, slowing release times and often leaving artists with their backs against a wall.
Late last year, Congress came close to rescinding the Songwriter’s Capital Gains Equity Act as part of its tax code overhaul. But fortunately, last-minute lobbying by representatives from Nashville and other songwriting communities across the United States saved it.
Chamber music ensembles
Instructed by multi-instrumentalist, engineer, and educator Will Marshall, this mentored online course will also help you develop workflow strategies and time (and space) management skills so you’re not wasting valuable time and resources working in your home studio.
All of our mentored online courses come with six weeks of 1-on-1 professional coaching and feedback on your work. It’s like having a personal trainer, but for music! Whether you’re interested in taking a deep dive into production-related topics like Beat Making in Ableton Live, Making Music in Logic Pro X, Songwriting for Producers, or the newly launched Art of Hip-Hop Production, or just want to work with a Mentor directly on a personal project, we can help you reach your musical goals!
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.
What’s this have to do with song lengths? Mainly, this unheard-of achievement outlines, among other things, that song lengths, album lengths, and music video lengths just don’t matter as much anymore. Why?
In 1972, John Fogerty left Creedence Clearwater Revival and their label, Fantasy Records. After he released his hit solo album Centerfield (1985), label head Saul Zaentz of Fantasy Records sued Fogerty for plagiarizing himself. Zaentz claimed that the single “The Old Man Down the Road” infringed upon “Run Through the Jungle,” a song that he had originally recorded with CCR under contract with Fantasy Records in 1970. Though he was not found guilty, it’s pretty novel that Fogerty was sued for sounding too much like himself!
Tredici Bacci’s latest record, La Fine Del Futuro, released this spring, makes me feel like I’m playing a minor character in a movie about falling in love on mushrooms in a European technicolor nightmare circus. And oh yes, it’s definitely set in the 1970s. Simon Hanes is this 13-piece soundtrack-pop ensemble’s fearless leader, as well as its composer and arranger. Flypaper’s Dre DiMura asked the California-raised Brooklyn-based musical polymath to speak about his sense of humor, which is integral to the music, and Hanes said something which I think encompasses a huge part of the ethos of this interview series:
Join us as we recap a year of incredible online learning with our run-down of the best Soundfly student works of 2018! Want in? Mainstage starts next week.
Another common issue is sibilance — or excessive “s,” “t,” and “z” sounds — often exacerbated by cheap condenser microphones. Sometimes this issue can be solved using an equalizer to remove the offensive frequencies in the 5-10 kHz range, but this approach often leaves the vocal sounding dull and flat. A much more effective solution is to use a de-esser to attenuate the specific frequencies causing the sibilance. This way, the frequency is only attenuated when it becomes excessive, leaving the vocal sounding bright and clear the rest of the time.
Before you start layering effects on your percussion parts, it’s crucial that you set yourself up to be able to mix each instrument in your kit individually. Sure, Logic offers loads of percussion-based EQ settings designed for whole drum kits, but this doesn’t mean you shouldn’t write your parts in a way that will allow you to isolate them in mixing later.
A few oddballs and nerds have explored tuning systems that use bigger prime numbers to generate finer pure intervals. Harry Partch used the primes up to 11 to make a tuning system that divides up the octave into 43 pure parts rather than 12 impure ones. You can try the Partch scale using the Wilsonic app or Audiokit Synth One. It’s extremely strange! But, I guess, it’s strange in a pure way?