“We want to help people become better listeners and help them identify and understand the music they actually love, so they can confidently find more of it.”
Music psychologist Carol Krumhansl once argued that when we listen to a song, “How the parts are perceived depends on their functions in the whole.” So we’re going to hear a song differently depending on whether we hear the verse or the chorus first. And if we jump into a song halfway, we’ll get a completely different experience all together.
Cyrus started the sexually (and psychedelically?) charged performance with her song “We Can’t Stop” and was joined onstage by Thicke to perform his song “Blurred Lines,” the video for which featured nude models walking around a studio. During this televised barrage of near-nude twerking and tongue-flashing, apparently a record-setting 306,000 tweets were being published every minute.
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One thing you’ll realize about the first three points, including this one, is the importance of aggregating the people who liked your band live so that you can convert them to active members of your fan base.
Kakashi is another example of a great record that went into obscurity after its first pressing only to be dug out and rereleased by Better Days and Jet Set Records. Shimizu, a saxophonist and composer, worked with all kinds of musicians and collaborators, including Sakamoto and even artist Nam-June Paik. This record is deeply hypnotic and visits all kinds of soundscapes throughout, always with the saxophone placed at the center of attention.
Anybody can buy a $50 microphone and start recording, and in fact, with increasingly popular companies like Anchor, you don’t even need the damn microphone! This offers amateur users great accessibility and a lot of interesting and niche content; as a result, you might be wondering, “how can I stand out from the crowd?” I’m here to answer that question and take you from a bedroom podcaster to a studio quality podcast pro.
Let’s say that we ran two of these sine waves simultaneously. We’d find that the total amplitude would be the sum of the two identical sine waves. So far, so good. But what if we were to “flip” the waveform, so that what was a peak is now a trough, and vice versa? What we get is… silence.
Music theory is a useful feather in the cap of any music producer. Learning a bit of theory will help you fundamentally understand the music you record, the emotional power that can be achieved by it, and how to mix and arrange everything so it comes out more clearly. Check out Soundfly’s popular free course, Theory for Bedroom Producers, to get a sense of how learning just a bit of music theory can do wonders for your songwriting and production practice.
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The first thing you’ll do is hop on the phone with your mentor so they can better understand what you’re hoping to accomplish and you can make sure you’re a good fit together. You can even do this right away, with no commitment to buy, by telling us about yourself so we can suggest a mentor. If you’re considering signing up but not sure if it’s right for you, give it a try!
Some guitarists like the level of control and consistency you get with amp simulators, but a little bit of wild energy in the room from a live amp can go a long way in terms of inspiring a great performance. For example, out of a real amp, when I palm mute power chords, I can hear (and feel) a lot more low-end rumble on the initial attack. The decision to use amp simulators instead of a real amp is up to you. Try both, and see which one gives you the tone you’re happy with.
I get that — creating something new is scary. You aren’t sure what people will think of it, and you’re worried it will be received negatively. There’s value in taking influence from your favorite musicians, but by copying them, you’re putting yourself in a position where if your music were to suddenly disappear, nobody would miss you as a guitarist because they can easily find your sound somewhere else.
Though this case ruled in Porter’s favor and spies were found to not, in fact, be in the equation, the decision set a major precedent for music copyright cases. First of all, this was the first of Arnstein’s several legal battles that had been taken seriously. He was somewhat of a “full-time plaintiff,” and by 1946 had already unsuccessfully attempted to sue ASCAP, BMI, and Twentieth Century Fox Film. Although he did ultimately lose his case against Porter, this case helped establish the two-pronged test to determine copyright infringement that is still used today: Courts must determine if the defendant copied the plaintiff’s work, and whether this copying constitutes substantial similarity between the two works.
This spectacular Christmas cover collection is sure to win over any chiptune-hating Scrooge any time of the year. Bit Shifter’s “Let It Snow” is one of my favorite arrangements of anything ever.