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One of Martin’s most memorable musical moments happened while working on the score to the indie film Experimenter, composed by Bryan Senti. During the recording session, Marty was asked to re-voice and notate a section that involved a lot of string harmonics — one of the toughest things to notate, given all the math of matching which note works with which harmonic and which finger hovers where. Marty dove in head first and got it done, despite biting his nails the entire time — and in the process learned not to be afraid to put it all on the line for the music.
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Brown thus had to finance the album himself to get it made, which today isn’t so rare but during the time this was virtually unheard of. James Brown knew that a live album was the best way to showcase his music, and his incredible band, to the world after seeing the success of Ray Charles’s 1960 live record, In Person. It may have seemed like a risky move, but Brown was completely confident in his band and his ability to move an audience. It’s just that… well, Brown had to make very clear to his band that he would triple any fines they got that night for messing up. You know, normal band stuff.
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Motivation is something that can be difficult to hold onto when music is your side gig. We get overwhelmed with all of the things we could or should be doing to move our music careers forward. Hustling day after day with little progress can suck the go-getter-ness right out of you. So here are some tips to combat that temptation to lose motivation.
An interval is simply the distance between two notes. We classify intervals in two ways— by quantity and by quality. Quantity tells us roughly how far apart the notes are on the scale; and quality tells us more about the unique sound of the interval or which scale it’s pulling from.
If two signals that are mirror-images of one another are combined, they attenuate each other. This is often called “phase cancellation” (which in truth is a bit imprecise, but will do for now). You can demonstrate this cancellation easily in your DAW by bringing up two identical tracks and then flipping the phase of one by hitting the polarity switch, usually rendered with a symbol resembling “Ø.”
Sorry if you weren’t there, but the late ’90s and early 2000s were fantastic. Once P2P was pioneered via Napster, the floodgates opened and the world of music sharing was here to stay. As an artist and a listener, my personal opinion is that we’ve regressed from that time. The problem with the P2P era, admittedly, was that artists were not getting remunerated for their recordings as disruptive tech eagerly pulled down the bloated major-label system. But, well, we’re still not getting paid that much anyway.
In the long run, a properly constructed narrative will make your fans feel like they’re part of a bigger picture or bigger story. By supporting you they’re not just buying your album, they’re actually contributing to your story and your narrative and helping you move toward your goals.
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The form here is seemingly as sparse as the accompaniment, and it’s just about the most “organic” thing I’ve seen so far in this study. After eight bars of verse, he introduces what will be the refrain lines (you really can’t call it a chorus because it’s only two lines over four bars). But then there’s a big stretch of verse at a non-standard, “just-feeling-it-that way” 36 bars, and then, just cutting this dough with his fingernails (as in, no pre-made cookie-cutter shapes), Drake gives us six bars of the “my head is spinning” sample, followed by, for some reason, only one of the refrain lines? Then there’s eight more bars of the sample and, following that, a mammoth verse section weighing in at 56 bars. To close it out, we get that refrain/sample combo again, but this time it’s punctuated with the first refrain line, and then the next line. Pretty innovative organization.
To see many of these techniques in action, plus more, I’ve created a short vignette in Ableton Live using stock instruments and plugins. If you don’t have access to Ableton, I can recommend Helm, Synth1, and the free products from Togu Audio Line as good starting points for your synth adventures. Happy LFOing!
“If you want the piece to be a lament over someone’s death, then you will really tear into that… It doesn’t matter that it wasn’t really true then and it doesn’t matter if the code theory is dumb.”
This is just a guideline and there are literally thousands of options out there for each piece of equipment. Do your due diligence and research each piece before you purchase. As with most things, you get what you pay for so if you have the budget, I would splash out on better equipment where possible.
I dial the threshold to where I’m only getting about 1-3 dBs of gain reduction on the peaks of the audio. I tend to keep it on the lower side of 1-2 dBs of gain reduction. You just want to kiss the needle. You don’t want to have to much mix buss compression happening. Remember, we are going for a subtle, “glue-like” effect.