Imagine for a moment the Library of Congress. It’s the largest collection of books and documents in the world, all perfectly categorized. Imagine, one morning, a group of people go into the library and spend all day moving thousands of books and documents around, swapping or removing the labels. Chaos!
Sırma Munyar is a singer, producer, songwriter, and topliner with a degree in Contemporary Writing & Production from Berklee. She’s also a commercial jingle writer, has had songs that hit the top of the Spotify charts in her native Turkey, and has recorded and performed with artists like Akon, Illenium, and Keri Hilson. She loves working with students on vocal production and using technology to create the sorts of songs you might hear in your head.
ADHD’s Leveling Tool is a tube compression emulation in the style of the LA-2A compressor, an analog studio classic for compressing vocals due to its subtle, slow gain reduction and overall transparent sound. But I find that it also sounds great when used on mix elements such as bass and keyboards. The ADHD Leveling Tool tames instrument peaks and adds colorful character with its emulated tube drive. The release and attack time can be adjusted to suit your needs, which adds to this compressor’s versatility.
In the Presence of Wolves wants to record their sophomore album, stay the course, inch towards fame one step at a time, and do it with a smile. Okay, maybe a smirk. These guys are goofballs, and they’re able to convey their true personalities along with their struggles (“Dude, we play prog-metal, we don’t have any girls at our shows”) in their well-crafted pitch video.
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.
On this day, 57 years ago, James Brown and his Famous Flames recorded what would become one of the most earth-shattering funk and soul albums of all time.
Located an hour and a half north of San Francisco, on a ranch in Sonoma County wine country, artists of all media are provided with 2-10 weeks of accommodation and work space on the Warnecke Ranch and Vineyard. Resident artists stay in a three-bedroom, 1920s farm house, with studio spaces provided in repurposed barns. It’s perfectly peaceful while offering plenty of opportunities to attend open houses, workshops, lectures, and of course, the chance to mingle with the other artists.
“No Limit”: I’m going with the track itself here, not the video, which is over six minutes of some more wordsmiths taking their turns. Not sure whether to call the “get some money” bit a pre-, post-, bridge, or a refrain: maybe not a bridge because it appears too early, and not a pre- as it’s after the chorus. I’m going with a post-chorus, as its repetition is too long for a refrain, and we’ve already got a chorus. The post-chorus (as we saw last year) is becoming a less and less rare animal in the form kingdom. Lastly, how could you not love all those beat drop-outs in Cardi’s verse, and all those 64th notes in the beat in general?
Tim: Taylor has created some really impressive work this session! Both his technical and creative understanding of his process have exponentially increased over the two sessions we’ve had together. I look forward to the next one!
Something most recently popularized in Post Malone’s work, Free Form writing is when your song structure is very loose, or follows little to no repetitive form at all; eight bars or this, 11 bars of that, the chorus not always falling in the same place after the verse, etc. In modern music it usually is represented as a song with no repetitive verse structures, and with the chorus still remaining somewhat, or completely the same each time.
Producers will use this technique when they have a double chorus in their hands. If the second half of that double chorus will also be the final chorus, it can be a challenge to keep the energy at peak level. And, of course, nobody wants the final chorus to be one that loses its impact or gets boring near the end.
Whatever Bach intended, the chaconne is a very effective piece of sad music. It helps that there’s the long section in the middle where it switches to D major and gets unexpectedly happy, before returning to D minor, the saddest of all keys. Sadness is that much sadder if you’re expecting happiness.
I might have been able to dig this deep into the chaconne from regular listening. I could even imagine learning how to play it on guitar, though only after my kids go to college. But being able to play around with the music in Ableton Live accelerated and deepened the process enormously. We should consider remixing to be a core competency for music educators, not just because it helps them understand all the music of the present (which is reason enough) but because it’s a superb tool for understanding the music of the past, too.