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Anyone who wants to create professional-quality mixes of their own music, or who aspires to be a professional mixing engineer and is looking for a way in. In this course, you’ll actively work on mixes in different genres, getting you ready to mix any style of music you’re likely to encounter.
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.
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This method might at first seem complicated, but your eyes are quicker than your fingers, so having reference points to refer to all around the guitar fretboard is a great first step towards familiarity.
This piece also makes use of other “unusual” concert instruments, such as the waterphone, the daxaphone, the log drum, Hapi drum, Ufo drum, and more to convey a sense of music as an alien and unearthly being in and of itself.
If you’re looking for an intimate house/basement show, local bloggers/curators No Smoking Media are bringing the party on Friday with several bands, including Stuyedeyed. Based out of Brooklyn, Stuyedeyed plays a fresh blend of latin-psych-rock. Nelson Antonio Espinal, the band’s lead singer and guitarist, collaborated with his bandmates to write Birth and Cursed (the two demos out currently) with one goal in mind: “to bring only the most excellent of vibes to any and all listeners.”
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[AC]: “That’s fundamentally the trouble of trying to apply specific scientific experiments to songs. The whole idea of scientific experiments is to try to control as many things as possible, and sometimes that ends up happening by stripping away some of the things that happen in real life: like lyrics, like meter, and so on. And now you have this song, which has all these extra things that are not part of music cognition experiments — anything you say that the scientific experiments might predict are confounded by the fact that in real life, there are all these other things that weren’t part of the experiment.”
The first is free-hand, which is to say that you record piano and vocals at the same time and even if they’re off tempo the two are synced together. It will sound more free and raw, but you’ll have a hard time syncing rhythmic elements and timed processing such as delay and reverb in a consistent manner. The second way is to record on grid, whereby you’ll record to a click-track to steady your tempo. In this case, it’s best to record one track at a time, but that doesn’t mean you can’t sing to yourself while you record your keyboard takes.
Ain’t it the truth, Bey? Perfection is a mean old demon, and every one of us has been guilty of holding onto something far too long as we try to perfect every last bit of it. But perfection is, by its nature, impossible. There is literally no such thing as a perfect artist, a perfect human being, a perfect meal (although my mom’s beef with broccoli is pretty darn close).
The story behind this obscure mid ’90s musician is almost as good as the music. Brian Shimkowitz, a blogger at the time, found Ata Kak’s cassette at a flea market in Cape Coast, Ghana in 2002. “You may never hear anything like this elsewhere,” he declared in his very first blog post. “No one I know in Ghana listens to this frenetic left-field rap madness.”
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