Will Marshall is a singer, composer, producer, pianist, synthesist, engineer and educator. Will has engineered for artists such as Oscar-nominated film composer Nicholas Britell, Grammy-nominated jazz musician Patrick Gleeson, R&B singer Vudajé, experimental composer Augur Duende, and electronic acts Ill Gates, Freq Nasty and the Fungineers. He is currently consulting mix engineer and producer for Sennie Records in San José. As an educator, Will taught at Pyramind in San Francisco from 2015-2018 and is a well-known authority in the creative applications of music technology. He has written and directed several in-depth educational video series, taught numerous workshops, and accepts occasional private students.
Ethan Hein is a Doctoral Fellow in Music Education at New York University. He teaches music technology, production and education at NYU and Montclair State University. With the NYU Music Experience Design Lab, Ethan has taken a leadership role in the creation of new technologies for learning and expression, most notably the Groove Pizza. He is the instructor of the free Soundfly course series called Theory for Producers. He maintains a widely-followed and influential blog, and has written for various publications, including Slate, Quartz, and NewMusicBox.
I do give students my opinions on their music, during our in-class, art-school-style critique sessions (and sometimes also as timed SoundCloud comments.) I consider this subjective group critique to be the actually valuable form of feedback. As a group, we listen to each person’s assignment and then talk about it. We try to figure out:
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Efa Etoroma, Jr. is a Los Angeles-based professional drummer, composer, and educator who is known for his stylistic versatility, expressive creativity, and his deep musical instincts. He performs and/or records with a variety artists including Moonchild, Sneakout, Ellen Doty, Bennie Maupin, A La Mer, BRNSTRM, The Writers’ Guild, and Sensae. In addition, Efa Jr. serves on the drum set faculty at the Musician’s Institute in Hollywood, California and teaches songwriting and music production at Citystage LA. Efa Jr. uses Yamaha Drums, Paiste Cymbals, Promark Sticks, Humes and Berg Cases, and Remo Drumheads, exclusively.
In this edition of “Talking Points,” influencial composer Igor Stravinsky shares his thoughts on composition, creativity, craftsmanship, and other topics.
In order to do so, we must rely on what we said before — moving fret by fret towards the body of the guitar will give us sharps (♯). On the 6th string, for example, we will get: E, F, F#, G, G#, A, A#, B, C, C#, D, D#, E), and then moving back towards the open strings we’ll get flats (♭), producing: E, E♭, D, D♭, C, B, B♭, A, A♭, G, G♭, F, E.
This technique is most widely used as an alternative to the “speeding buildup” technique. Here, the buildup section is supported with a marching snare-type instrument, serving the purpose of increasing the energy right before the chorus or the drop.
In addition to tax returns and detailed income statements, lenders often ask for a profit and loss statement. This may throw you for a loop considering it’s something normally asked of a business not an individual, but in the bank’s eyes you are a business since you are a 1099 contractor!
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For a particularly clean and easy-to-follow rendition of this section, check out this video, which follows the full orchestral score through the Act II interlude.
Our beloved Q-Town is becoming an in-demand stop for worldwide touring acts, performing at the city’s most iconic venues, such as Burt’s Tiki Lounge and the Sunshine Theatre. But those are just a few of the many wonderful venues here. In order to fully appreciate Albuquerque sonically, you have to be creative in your efforts. Here are some of our favorite spots!
This autumn, we’re launching a brand new mentored online course teaching you how to get your home-recorded vocals sounding like the pros, check it out!
Spoiler Alert! If you haven’t played yet, head over there now via this link and try your hand at the game. The rest of this article will feature spoilers, and information only about the composers (not the pasta… that will only appear when we eventually launch our food blog, Flambé-per, or Floundersy — name TBD). Turn back now and don’t say we didn’t warn you.
One of the keys to obtaining this sound is fluctuation. Drive your synth sound through a piece of hardware or a plugin until you can hear the warmth and compression. Then place a regular old EQ on your chain, high-passing at 120Hz and low-passing around 6kHz. This will give you that blunted, warm sound. Then, in whatever soft synth you’re using, start firing up your LFOs (low frequency oscillators). Set them to a moderate speed and depth (nothing crazy, we’re going for chill vibes) and start routing them to various settings.