These modern composers need no introduction. Their names are likely already on your favorite Spotify playlists, and rolling down with the credits of your favorite films and television shows. Their work and continued efforts to build the community of new composers and new audiences have come to define the new horizons of the first almost twenty years of this century’s wealth of concert music.
This course is instructed by nine top sound engineers who have worked with artists such as Beyoncé, D’Angelo, Solange, Sia, Mark Ronson, the New York Philharmonic, the Dirty Projectors, and many more, and it’s navigated by our in-house hip-hop producer, Nyle Emerson.
And so, with our eleventh edition of the Student Spotlight series, highlighting the brilliant work of Soundfly alumni created in our courses and Headliners Club mentorship sessions, we humbly offer up some new music for your favorite summer playlist.
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The bass blends well in this mix and grooves solidly throughout the whole song. But one recurring motif that sticks out, perhaps because of the space created by the choppy, Kinks-esque guitar riff, is the simple walk-up to the fifth (an E over the A chord) via the major third and perfect fourth. It happens after the first four chords (which, on their own, actually sound like a rewrite of “You Really Got Me”), and tucks nicely into place as the short D and A guitar chords follow it and carry the end of the measure into the G and C chords of bars 3 and 4. The pattern is repeated over these bars, and basically everywhere else in the song involving the main guitar riff, though East varies it almost every single time with masterful subtlety.
When you make a duplicate or slight adjustment to a version of the track, you can then add that to the label, as Bricks_LessBass_04.04.19 or Bricks_Mix3a_04.04.19.
Although this list is technically geared towards kids… adults, do not be shy about confessing your love of these books! I’m actually prepping my Amazon cart with a few of these myself. And, more importantly, for those DIY touring musicians out there — not that we know how popular these books are — why not consider making one of these books yourself for your merch table? (Just a thought…)
Every step of the mixing process is covered, from setting up your room, to use of plugins and recommendation for free plugin options, and finishing touches before delivery. Senior’s advice is well-written, specific enough to be incredibly useful, and general enough to apply to any DAW or any genre an engineer finds themselves working in.
When the studio asked for a song that sounds like The Beatles, Schlesinger decided to use similar instruments, style, and production techniques from the time period. If anyone in their 40s or 50s walked into the theater to watch the film, they were immediately transported back to their youth. For those of us too young to have lived through the early 1960s, it’s likely that our parents introduced us to the music of The Beatles at some point so that we’d have our own developmental reference point as well.
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One of this blog’s most prominent features is the “10 Songs You Need To Hear This Week” which features everyone from YAWNS to Lil Lotus, Cold Hart, Yung Scuff, and more — always aiming to highlight underground artists. Underground Underdogs also does artist features and introspective pieces like “An Insight Into the Experimental Sounds of Cremation Lily” or interviews with artists about their story and success. If you’re a big enough fan you can grab a t-shirt or hoodie and support them.
We better go back to the source of the loop for some context — Lauren Hill’s “Ex-Factor” — and holy rabbit holes, did they make it their own! First, they took the sample and pitch-shifted it up a whole step from G♭ to A♭ (thought it sounded kind of chipmunk-esque), then they chopped it up and taped it back together out of order. But what really transforms the music of it is what they didn’t take. So we were right that the singers are singing in A♭ major note logic, but they didn’t sample any A♭ major chords — and how can you have a song in A♭ that doesn’t have any A♭ chords? Also, they didn’t sample any of the bass notes that made some of the singer’s triads into different tetrads.
A true hub of all things hip-hop entertainment, Hip Hop Wired covers it all, including news, politics, and tech — so you can get all your favorites in one place.
The Dorian mode is spelled: 1 2 ♭3 4 5 6 ♭7; or, in steps: whole, half, whole, whole, whole, half, whole. It’s frequently employed by jazz, soul, and rock soloists, and can be found in the “jam sections” of tons of classic rock and jazz tunes from players like Carlos Santana and David Gilmour (as well as jazz improvisers like Miles Davis).
But listen to it, and I mean REALLY listen to it. Does that C minor chord sound like home, or just a temporary passing chord on its way to the dominant? I respect those who feel differently, but my ears practically beg it to go to that E♭ and it doesn’t, which is why I dig it.