How does this relate to your own website? By discovering detailed information about your listeners, you can tailor the content on your website to better reach the parts of your audience that are most engaged and likely to buy your merch, see your live shows, and check out your new releases.
Crowdfunding campaigns with pitch videos receive average contributions up to 12% higher than campaigns without. They’re also more likely to get shared on Indiegogo’s homepage. Finally, their success rates jump about 20 to 30 points on average.
Imagine for a moment the Library of Congress. It’s the largest collection of books and documents in the world, all perfectly categorized. Imagine, one morning, a group of people go into the library and spend all day moving thousands of books and documents around, swapping or removing the labels. Chaos!
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In this new series of spotlights, we’re introducing our full roster of Soundfly Mentors so you can choose who you want to work with on your next project!
You’re also going to need a delay, one way or the other. When it comes to delay pedals, there is analog modulation and digital modulation. Many people automatically point to analog delays to say they are better than digital, but it’s always a question of taste, and most guitarists out there exploring expansive sound palettes will have both on their board. Analog delays sound more like a tape machine; their echoing tone changes the pitch a bit up or down and it’s darker fading out then a digital delay. The latter sounds more like an exact copy of the inserted signal that fades away. If you are a guitarist who likes to tap the delay time with your feet, this will affect your pedal choice as well.
In a song that was spliced together from the independent compositions of different feuding band members, John McVie’s contribution takes prominence here at the end. Played along an E minor scale, it starts with a long A and ascends to the C, before descending via a run of notes to resolution on the E. Simple yet effective, especially with the repetition, it builds up with intensity into a driving tempo over Mick Fleetwood’s drums. But one thing that shouldn’t be overlooked is how much musical tension is created between the bass and the lead guitar as a result of what I call “reverse” pedal point.
Ideally, you’ll want musicians to show up, do their thing, and be ready to roll, so you can’t be what gets in their way. You’ll save time and get better performances from the musicians if you plan ahead of time and have things set up and ready to go before they arrive, not after.
For me, one way to do this is to pick a certain amount of time and decide I’m going to do focused practice for that length of time. Even better if I have concrete goals laid out for that time, such as “play the left hand to ‘Stompin’ at the Savoy’ successfully six times in a row.” When the time limit is up, I can happily jam around on whatever I want and let my mind wander whither it will.
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Sometimes you can find unexpected new meanings by recontextualizing vocals, like when I discovered that Whitney Houston singing the words “I know” from her a cappella to “How Will I Know” sounds great over De La Soul’s “Eye Know.” (Email me if you’re dying to hear this experiment.)
You may know the theremin as the sci-fi sound of aliens and robots, but it’s been used by composers all over the world in concert music too. Let’s explore!
Before we move deeper into our analysis of this track, take another good look at the image above. Those are all the diatonic triads built on top of the scale tones of E♭ major. If this is new to you, I strongly suggest playing these chords on your chosen instrument. See if you can hear the relationship between each chord.
It’s really something, even in robotic MIDI form. The chromaticism leapt right out at me on first hearing. It’s worth going on a little journey so you understand what chromaticism is and why it’s a big deal. The chromatic scale is the one you get when you play all 12 notes in the Western tuning system, all the notes on the piano or guitar or whatever. The chromatic scale sounds pretty bad. It’s too much information. The notes don’t feel like they’re related in any particular way, like there’s any logic to them.
Dub music producers like King Tubby and Lee “Scratch” Perry played the Space Echo almost as if it were its own instrument. On Augustus Pablo’s song “555 Dub Street,” Lee Perry uses the Space Echo on the melodica and turns what most consider a harsh, uninviting instrument into something lush and layered.