If you’re a part-time musician, you know the struggle. You want to make music, but you run out of time in a day. Or you lose heart. Or your music time is not as efficient as you want it to be. Every day, it’s an uphill battle of sticking with it, being productive, and not losing your mind.
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Source-Connect Now is a similar product, but it’s free! If you have the budget, however, I recommend ipDTL because it has greater mixing capabilities and is more common in the industry, making it easier to work with other companies and voice talent. That being said, when just beginning, Source-Connect Now can certainly get the job done. Both services offer a private link to send to your guests and allow you to have more than one guest in different locations. It’s just like connecting via Skype, but at a much better quality. As long as you both have a solid internet connection and suitable recording environments, your interview will sound great. You didn’t even have to leave your bedroom!
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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.
Explore Soundfly’s wide array of free online courses and expand your musical skills over your lunch break! Here’s just a few free courses you can choose from: How to Create a Killer Musician Website, Touring on a Shoestring, Music Theory for Bedroom Producers, and How to Get All the Royalties You Never Knew Existed.
This song is a great example of how music theory and psychology can help the songwriting process. In essence, you want to try to structure how listeners bring their sense of joy through the song, with the ultimate high point being in the chorus where lyrics and melodies are all repeated for better recall. Now you’ve got a tonal hierarchy to work with to make that section, and the others leading up to it, even stronger.
Now be honest. When you read that title you were flooded with a bit of nostalgia, right? Even if you’ve never really used a cassette to play your music, odds are you have childhood memories of your parents popping in the Twisted Sister Christmas tape or remember wishing your crush would make you a mix tape that held all the best Cure songs
Phase also operates more deeply within the architecture of signal processing, itself. A vintage analog EQ unit uses capacitors and inductors to shift the phase of the signal passing through it. And the same goes for most digital equalizers, many of which are designed to model the distinct and desirable characteristics of those good ol’ analog boxes. There are linear phase EQs available digitally that do not function using phase shifting, but they are a relatively special case.
Take a look back at television shows that were geared towards young children throughout the decades and listen to their themes. I’m a ’90s kid myself, so I watched a lot of shows on PBS Kids, especially Arthur, and I watched a lot of Disney movies like The Little Mermaid, Aladdin, and Hercules. When songs and musical pieces mimic scale degrees from these shows and movies and focus on notes 1, 2, 3, and 5 in a scale, they bring me back to my childhood just a bit.
A common idea using this scale position is to bend the major 6th up to the flat seven. This gives further flexibility and is a favorite of many players in the fusion, soul, and blues genres. In this lick, we end on the 6th. Ending on the 6th can be especially useful in blues, because the 6th also functions as the major 3rd of the IV chord.
This is not the place for a ton of different pitches — none of that funk chromaticism. In some tracks, the 808 might only play two notes, and they’re both likely roots. Stick to a range of about an octave maximum.
We cover a lot of musical topics between the editorial content here on Flypaper, our newsletter Soundfly Weekly, our mentored online courses, and our customized project-oriented mentorship sessions on Soundfly. Yet no matter what area of composition, production, performance, or business we’re talking about from one day to the next, we find that what links most modern musicians in their drive to learn more and expand their skills and opportunities today is the need to develop a better grasp on home recording.
The great thing about studying pop tunes is that they very rarely stray from a given key. They like to keep things rather diatonic. This means that with just a small bit of practice, you can start to recognize these chord progressions for yourself, even without your instrument in hand. We will go much deeper into our understanding of how these chords function in later articles, but for now let’s just get comfortable with what we get from “Sorry.”