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Improvising on an instrument isn’t hard once you have a level of technical fluency. You can play whatever notes you want in whatever order you want to play them, with whatever tone and attack. Scratching is more limited. The music in the recording is set already, it’s in the order that it’s in, and it sounds how it sounds. Any expressive moves you make have to make sense in relation to what’s happening in the recording.

The key to editing is storytelling. Does this story make sense? Would it flow better to have certain parts shifted around? Does the tangent the guest went off on ever come back around to the theme? You would edit a written piece that gets published, just as I am doing as I write this. The same needs to be done for an audio piece.

If you’re an indie touring musician who’s used to a certain type of environment, and you still need some convincing, here are six great reasons why you should play more house shows.

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All of our mentored online courses come with six weeks of 1-on-1 professional support and feedback on your work. It’s like having a personal trainer, but for music! That means you’re not just getting the course content, but a coach to bounce ideas off of and someone invested in your success. Check out our courses such as The Art of Hip-Hop Production, Beat Making in Ableton Live, and of course Songwriting for Producers, and preview any or all for free!

Stay focused on bringing gear into your workflow that gives a sense of satisfaction to use. It’s not just about tone. It’s about the connection you have with your equipment!

Speaking of Timberlake, I didn’t watch the Super Bowl in 2004, but I remember kids at school telling me about it later. If you don’t know the story already, I’m here to fill you in.

A firm fixture in the late 20th century avant-garde scene, Bertoncini’s abilities as a pianist also led him to perform piano repertoires from the Baroque era through the early modernist canon, and even piano and keyboard pieces written by Terry Riley and John Cage. He wrote numerous pieces for solo musicians and ensembles that include a variety of instruments and acoustic environments and treatments, such as Japanese gongs, prepared piano, speakers, mimes, photoelectric motors, sitars, “kinetic shadows” (whatever those are), and — of course — many Aeolian harps. Yeah, he was a weirdo, and an enormous influence on the late 20th century Italian avant-garde.

Part of getting this right is also about choosing the appropriate sample. Some are super long. If you have an active kick pattern, choose a shorter 808. If your kick is less active, you can probably get away with a longer sample, but those aren’t good for complex bass lines.

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The main thing I have students do in music tech class is make original music and lots of it. So the question immediately becomes, how do I even begin to objectively assess that stuff?

So, if you’re trying to stop noise from creeping into your home studio from the other rooms in your house, install MLV inside your wall and floors for best results. If you’re looking for a less invasive approach, hang it on all of your walls and lay it across your floor.

Jack White has always understood the importance of a strong color scheme. When The White Stripes were just starting out, Bobcat Records wanted to put out their first record but Jack White turned them down because they insisted on putting a neon green logo on the spine of their record. The White Stripes only used red, black, and white. This reflected their simple, but always effective, approach to rock music.

“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.

Welcome back to our interview series, Incorrect Music, curated by guitarist, singer, and composer Lora-Faye Åshuvud (of the band Arthur Moon). In this series, we present intimate conversations with artists who are striving to push the boundaries of their process and craft. Join our weekly email newsletter to get more insights like this into how professional artists are making music and how you can apply those lessons to your own music.

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