Like it or not, your visual presentation is an incredibly powerful tool in how your music comes across. If you play your cards right, you can use visual aids and style to develop from a random Tuesday night bar band into a national weekend headliner that people are excited to see. You can choose to subvert your audience’s expectations and keep them guessing, or play into them to create a well-established and expected result — either direction can suit your band as a tool to entertain. It’s up to you to decide and execute.
We all know that vinyl manufacturing these days is plagued by delays; it strikes me that if the artist or label needs to wait until a certain number of pre-orders is reached to start manufacturing, that’s just making an already lengthy process even longer.
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List of government grants for individuals
As for taking oneself too seriously… If I wasn’t able to make fun of myself, especially considering what I’m trying to do with my life, I don’t think I’d be able to cope. That’s not to say I don’t take anything seriously, because that’s essential too. But at the end of the day, being able to throw your hands up and laugh when a project goes horribly awry, or bringing an attitude of openness and humor onstage, can make space for very magical things to happen out of the blue, and that’s what I love most of all.
From where I’m sitting, some other “holy grails” include the Moog Sub Phatty (bass synth perfection), the Oberheim Matrix 6 (the best pad presets), and the Roland Jazz Chorus amplifier (the best clean tone in the game), just to name a few. But the Roland RE-201 might even top that list. Its tone, ease-of-use, and design are unparalleled when it comes to echo/delay effects and it continues to be an inspiration to effects producers to this day.
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Like any piece of machine-learning tech, you’re bound to run into some bugs and kinks. What problems have appeared in beta versions of the tech that have needed to be worked out in further iterations?
The nearly 11-minute version of “Lost Someone” is a high point; Brown demonstrates his ability to ensconce his sexuality in a preacher’s cloak. Throughout this song, it feels like he’s beseeching the audience to believe in a higher power. Judging by the screams of the audience, I’d say he converted all of them. This style of performance would later go on to be emulated by other larger-than-life performers such as Prince or Bruce Springsteen.
Sometimes the solution is obvious. Maybe the student has a clear goal in mind, and they just don’t know how to get there. Maybe they wanted to make a bumping club track, and the beats are weak — beginner producers usually don’t know how to layer or mix drums. A lot of the time, there are some good ideas but they’re strung together without any particular structure. That’s understandable; structure is hard! Or maybe there was a misguided attempt at “realism.” Every semester, someone takes a piece they composed or arranged and outputs audio straight from their notation software. The result consistently sounds like garbage. I want them to think of the sound coming out of the speakers as the “real” music, not a placeholder for an eventual performance by humans — nothing against live performance, but my class is about making music in the box. Rather than settling for terrible fake strings or brass, we try to figure out what software instruments might sound unapologetically cool.
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Natural overdrive can sound amazing in a punk song, so if you’re getting a tube amp don’t forget to crank the drive to see how you like the sound it produces. Otherwise, stick to pedals, and look for something big and tough enough to handle your tone (and the mosh pits). Here are some of my favorite choices for punk musicians:
We’ll keep it in the family again with the second release in Ashikawa’s “Wave Notation” series, his own album, Still Way. This record actually features Midori Takada on harp and vibraphone. Ashikawa only released three records in this series before he died; the third was a full LP of pensive Erik Satie pieces played on solo piano by Satsuki Shibano.
I’m an adept editor and manipulator of audio, and am getting to be a solid improviser on a synth. But Serato is like editing audio while it plays in real time, or like performing on a synth made out of a song.