The piece is constructed as a linear entity, with an introduction and conclusion that share the use of natural harmonics in the piano. The keys two octaves below the notes in Bar 3 are pressed but only sound out by sympathetic resonance, after the sforzatissimo in the upper part (0:13 into the video). Ligeti uses sub-harmonics in the first part and both lower and upper harmonics at the end of the piece.
Who doesn’t want to hear chippy versions of Kraftwerk’s best tunes? This is a tribute compilation in the truest sense, featuring unique instruments covering some of the most original and important electronic music the world has ever known.
It’s so easy nowadays to get caught up in what’s trendy, and in the age of independent artists being able to produce and release work on one’s own, it’s hard to stand out when there’s so much content available at our fingertips. But in the end, if you’re doing something that feels 200% authentic to you, confidence will follow. Clear and to the point, the legendary Aretha Franklin knows her stuff.
The second course in the Faders Up series, Advanced Mix Techniques is structured quite differently from the first. Here, you’ll gain insights from renowned sound engineers, but it’ll be much more tightly focused, both on their personal sound-crafting techniques and the tried-and-true techniques that pertain to specific genres (hip-hop, rock, metal, pop, and cinematic orchestral). We even threw in an entire section on the basics of mastering as an added bonus.
Take a hymn or other traditional melody you’re familiar with, and try writing lyrics to fit the existing phrase. If you know it well, you’ll be able to try different ideas without needing any music playing in the background. This is a great method if you do your best thinking in the shower or while walking, for example.
Morricone, Rota, Cipriani, Umiliani, Piccioni, Ortolani, Trovajoli: They’ve all influenced my work in countless ways, and not just in their shared collaboration with Edda Dell’Orso. Starting with Morricone and working my way down the line, I’ve tried to study the work of these composers as deeply as I can, and discover what it is about the kind of music they made which speaks to me on such a profound level.
“Nice For What”: Okay, what the heck kind of tonal Rubik’s Cube is this? So after a noncommittal B♭m and Cm chord in the intro, we get a main loop with three chords in dizzy order: D♭ E♭ Fm, with the singers using the traditional do-re-mi notes of an A♭ major scale. And at first I heard it in a Lydian tonality because whenever it got to the D♭ chord, it just felt like the home chord to my ear. But when I started to break it down on paper, I realized that the basic loop was: E♭ D♭M7 D♭ Fm E♭ Fm D♭ Fm, and wait: don’t tonic chords usually begin or end loops most of the time? I mean, am I right?
Your narrative could be a very big-picture look at your career as a whole, or you can create mini-narratives around much smaller events, like a particular album. And finally a narrative should be a part of how you communicate with your fans every single day. It’s not always about sharing your whole story in one breath. Instead think about how the content you’re creating every day relates to your story as an artist.
Got 10 minutes to learn about the history of the drum kit as we know it today? We talk about how individual drums, players, and genres helped the kit evolve.
“Chameleonic, hypnotizing, and utterly irreplaceable, David Bowie was more than just a pop star. More underdog than diamond dog, he was an inspiration to millions: a hot tramp from the streets of London, who proved that anything’s possible when you follow your dreams.”
Taking more than a little inspiration from the 1970s bestseller Zen & The Art of Motorcycle Maintenance, this might be the best all-around volume written on audio engineering we’ve seen yet. Mixerman’s gift is his ability to meld his personal experience in recording and mixing with useful practical advice and thought-provoking philosophical musings. He moves easily from the big picture to the small details (and then back again) meaning that this book is just as useful for a relatively experienced reader as it is for a beginner. It’s really got something for everyone.
However, from an opposing perspective, we could also raise the following question: What’s the point of building technological tools that merely mimic what we’d otherwise be able to do manually, or at least through existing musical technology (i.e., instruments)? Instead we should be pushing the envelope and introducing tools into our learning practice that expand our potential for expression and leave preconceived boundaries behind. Or, we should be looking to change our educational curriculums to incorporate software that opens up new worlds for students to dive into.
But one of the most important aspects is that it’s either built with or able to handle a good amount of tremolo and reverb. Those two effects, along with the warmth that decent tubes will give you, should set you up with the perfect country sound. Here are some of my favorite choices for playing country music: