With great soundproofing, even a beginner acoustic guitar can sound good on your recordings. I want to talk specifically about a few things you can do to improve soundproofing in your home studio, but if you’d like a bit more information on acoustic treatment, check out this Flypaper article on acoustic diffusers.
Let’s use my own childhood as an example. I heard a few too many nursery rhymes from my crib, like “Mary Had a Little Lamb” and “Merrily We Roll Along.” Songs that focus on the 1st, 2nd, and 3rd scale degrees, small intervalic jumps, feel more familiar, more comfortable, and more nostalgic, to me at least.
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The smooth groovy vibes of Yacht Rock await. Learn how songs by Steely Dan, Toto, and the Doobie Brothers function to use their ideas in your own songs!
As you probably already know by now, Logic Pro offers dozens of electronic and organic percussion instrument options, but songwriters and producers working with this DAW often struggle to keep their drum parts from sounding lifeless and conventional, without strategies to put life back into these out-of-the-box samples. Logic has a dynamic range of percussion instrumentation available, but the samples are still essentially blank sonic canvases on which the producer needs to paint.
All of our mentored online courses come with six weeks of 1-on-1 professional coaching and feedback on your work. It’s like having a personal trainer, but for music! Whether you’re interested in diving deep into a production-related topic like Modern and Advanced Mix Techniques, Songwriting for Producers, or Making Music in Logic Pro X, or just in working with a Soundfly Mentor directly to achieve a musical goal specific to you, we can help you get there!
If we compare D Dorian to its parallel (and generally more familiar) mode (D natural minor and not D major!), we would notice the following difference:
“Sad!”: The key escaped me for a while here, since the main chord, C minor, appears only as the upper part of the first chord, A♭Maj7, and then as an inversion, Cm/G. And the synth-trumpet riff doesn’t use the tonic, either. But then, lucky for us thumb-suckers always crying for our tonal blankies, the main vocal motif that starts all the stanzas is a classic “me-re-do” tonic returner. The choruses here are doubled up with no variation, the instrumental bridge is basically just the intro again, and for goodness sake, there’s only one verse! I mean, when a song is this simple, you gotta guess that the ultra-restraint was premeditated.
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I settled on two drum loops that had an identical tempo but were vastly different in terms of energy. Most of my track features this intense groove. But I’ve switched the drums out for this chilled out groove in the outro. The thing is though, since those two samples worked so well together, I actually snuck the latter groove into the busier drum sample on occasion — almost like a drum fill.
These different ways to get your song out there can be that little extra push you need to help generate more revenue. Think of your song like a business by doing research on other revenue avenues to help you get compensated for your work, but always remember to remain the owner of your copyright.
We’ve been bootstrapping since day one, so it’s too soon to tell — but we are growing our team by 200% in the next year, so company culture is already on my mind. Everyone that joins our team is a music lover, but more importantly, we look for people that are passionate about what we’re doing and want to achieve amazing things. I’m a firm believer in transparency and honesty as key ingredients to building a trusting and productive environment where team members can really feel comfortable to take risks and come up with new and innovative ways to address the problem we’re solving.
“The title says it all. Break out the crayons, ’cause it gangsta rap coloring time! 48 pages of line drawings of “Gangsta” rappers, done with the thick black line we all remember from the coloring books of our youth. The juxtaposition of the outlaw image of the rappers with the childlike innocence of a coloring book makes for an instant laugh.”
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 from 2015-2018 and is a well-known authority in the creative applications of music technology. He has written and directed several in-depth educational video series, taught numerous workshops, and accepts occasional private students.