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If you think through what music your listener was likely exposed to as a child, you can easily figure out how to write to job their nostalgia response. But it’s important to remember that “nostalgia” can also be associated equally with sentiments of sadness and loneliness as it can joy and comfort. As a composer, this is where it becomes important to play with instrumentation, timbre, and tempo, in order to

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Will Marshall is a singer, composer, producer, pianist, synthesist, engineer and educator. Will has engineered for artists such as Oscar-nominated film composer Nicholas Britell, Grammy-nominated jazz musician Patrick Gleeson, R&B singer Vudajé, experimental composer Augur Duende, and electronic acts Ill Gates, Freq Nasty and the Fungineers. He is currently consulting mix engineer and producer for Sennie Records in San José. As an educator, Will taught at Pyramind in San Francisco

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Over the past few hundred years, Western Europeans gradually figured out an alternative system to harmonics-based tuning, called 12-tone equal temperament (12-TET for short). It’s the system that the entire Western world uses today. The idea behind 12-TET is to have everything be pretty much in tune, which you accomplish by having everything be a little bit out of tune. Is this a worthwhile compromise? Let’s do the math and find out. Contrary to

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Be careful here. Don’t turn it up too loud and fool yourself into liking the result just because it’s louder. Do your best to match the input volume with the output volume of the compressor. We tend to think louder is better when it’s not really better, it’s just louder. Here’s a short video tutorial I shot below to show all of this in action on a mix I’ve started.