With all of Logic’s inredible instruments, producers often rely on the sound of the samples right out of the box, here’s how to make them more interesting.
The eleventh edition of our student work sharing series, this one’s a summer blockbuster jam. Get ready to add some new tracks to your favorite playlist!
A chaconne is supposed to be a dance, right? Bach wrote those note values the way he wrote them for a reason. Did he really want performers to assign any length they felt like assigning them? My gut tells me that he didn’t. I suspect that he probably played his own music in tempo, maybe with some phrasing and ornamentation but still with a clearly recognizable beat. I imagine him gritting his teeth at the rubato that modern performers use. Maybe that’s just me projecting my own preferences, but this sense comes from listening to a lot of Bach and performing some, too.
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Sometimes the bass sounds great merely doubling what is being played on the guitar — and especially when that guitar is being played by Jimmy Page. John Paul Jones actually had tons of bass-hooky songs, but here in “Over the Hills and Far Away,” the bass is a bit subdued throughout most of it — which makes this particular section stand out even more. That section is when Page climbs out of his solo with a three-octave arpeggiated run, and Jones follows alongside with a standard pattern of root-third-fifth-minor seventh across each octave, a mixolydian theme that would sound good in basically any context.
In addition to plugins like the above, there are many software instruments and patch libraries that will provide you with ready-made approximations of that coveted Boards of Canada sound. These will no doubt be valuable to some, but I’m a believer in DIY production: You get way more financial and personal value from learning the process yourself rather than using a tool where it’s hidden away from you under the hood.
Taking more than a little inspiration from the 1970s bestseller Zen & The Art of Motorcycle Maintenance, this might be the best all-around volume written on audio engineering we’ve seen yet. Mixerman’s gift is his ability to meld his personal experience in recording and mixing with useful practical advice and thought-provoking philosophical musings. He moves easily from the big picture to the small details (and then back again) meaning that this book is just as useful for a relatively experienced reader as it is for a beginner. It’s really got something for everyone.
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Planning ahead by clearing your schedule so that you can manage your time and responsibilities may sound obvious, but if you don’t make a conscious effort it can make a huge difference. Sometimes you just have to set that time aside and say “No.” Whether it’s a social function you have to miss out on or whether you’ve taken on too much work, planning ahead to give yourself ample focus and stress-free windows is one of the most essential things you can do to optimize your working time management.
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For many of us in the English-speaking world, the Middle East remains a mysterious and misunderstood place. For those of us who love music, exploring artists from a different region can be a way to deepen our understanding and make the world seem a bit bigger and more expansive when it starts to feel small and repetitive.
It starts in a Motown style with the chorus which uses a dotted and sustained two-note motif on the lyric — title and hapless subject “Jerome,” with variations — before the verses crank up the pace. Enjoy and take note of the contrast.
It’s important to note that I’m not a banker, realtor, or CPA. This is just my perspective and understanding. Before making a big purchase like this, be sure to talk to a professional. Every situation is different, even if the broad strokes may be similar. But hopefully this post has helped equip you with some knowledge to be prepared and get the loan you need.
In 2006, Congress lowered the tax rate for songwriters who sell a part of their catalogs. It did this by reclassifying income from the sale of a catalog as “capital gains” instead of “ordinary income.”
Sırma: This was my second Headliners Club session with Lisa and just like last time, it was a very productive and inspiring experience working with her. To me, Lisa is a very refreshing electronic composer, continuously flourishing…. She’s not afraid to try new techniques, she embraces technology, and she’s so open to taking direction while maintaining her musical identity at the same time. But she is new to composing with her voice, and it was really exciting to explore this new territory with her on this track. We kept her vocals in focus, from spoken-word sections to harmony and double layers and pad vocals. She went from “I don’t really sing” to making a track that revolves around her vocals. Isn’t that amazing?! She’s amazing.