I tend to use a medium-to-fast release setting. I’ve heard a lot of famous mixers say they set the release with the tempo of the song. So they would watch the gain reduction needle and have it release on beat with the song. I  try my best to use this method.

For most of the music I play, power chords usually do the trick. I make use of them almost exclusively when writing rhythm parts or exploring chord progression ideas because they’re simple, communicative, and easy to arrange around. Sometimes, though, you’ll want something that sounds a bit fuller and more epic.

Explore Soundfly’s wide array of free online courses and expand your musical skills over your lunch break! Here are just a few free courses you can choose from: How to Create a Killer Musician Website, Theory for Bedroom Producers, How to Get All the Royalties You Never Knew Existed, and of course, Touring on a Shoestring. Here’s a snippet of what to expect on Soundfly. 

Undergraduate music scholarships for international students

This minor sixth interval wastes no time, jumping in right at the top of the tune. It’s a bit tough to pick out of the dissonant, bluesy context that D’Angelo sets up with the rest of his opening riff, but if you can isolate just those first two notes, you’ll have a perfectly handy minor sixth to memorize.

The problem is, a bank doesn’t always see it that way. If they look at your returns and see huge write-offs (even if you made good money), they may see you as a less than ideal applicant. It boils down to banks looking at gross income for W4 earners, and net for 1099 earners — which automatically puts you at a disadvantage.

The Ray Charles project is called Au Palais des Sports-Live and was recorded in 1961 during his first European tour! The Serge Gainsbourg project, Premiers Tubes-Live, is composed of two live-on-radio sets recorded in 1961 and 1962 and contains an exclusive interview with Juliette Gréco, another French icon from that period. And thirdly, Premières Scènes-Live is a recording of Dalida’s first appearances on stage at the renowned Olympia in 1961 and on the radio show Discoparade in 1962.

Patrick McGuire is a writer, musician and human man. He lives nowhere in particular, creates music under the name Straight White Teeth, and has a great affinity for dogs and putting his hands in his pockets.

Patrick McGuire is a writer, musician and human man. He lives nowhere in particular, creates music under the name Straight White Teeth, and has a great affinity for dogs and putting his hands in his pockets.

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When Jack white began his solo career, he began to use blues and blacks to signify his softer approach to music — perhaps even a bit of a “cold” effect that would play into his new character — and most of all, that a new chapter in his career had begun.

Following one of the first major hip-hop settlements between De La Soul and The Turtles in 1989, Biz Markie was sued over his hit single “Alone Again.” Markie’s song samples the piano chords from Gilbert O’Sullivan’s “Alone Again (Naturally)” and uses the same lyrical hook. Markie’s record label initially tried to get the rights to “Alone Again (Naturally),” but when O’Sullivan refused, the label released the song anyway. Markie was in turn found guilty of copyright infringement.

“Psycho”: After 15 weeks in the Top 5, this song finally made it to #1 for a week. Good going, everyone. The form here is pretty clear-cut; it’s almost a palindrome. It’s just that the two verses have our singers doing their own thing. Like, Post Malone does this isolated line for the second half of his verse, just his own thing not to be repeated. This song, combined with others in this study, like “Look Alive,” also illustrates how important the beat is in determining the subdivision of the tempo.

Born in Tokyo, Japan in 1947, Ischi was a self-described “loner” who had a difficult time fitting in. He heard yodeling on the radio as a child and became obsessed with the sound of it. It clearly made a massive impact on him, because his life was set on a completely different course after that.

Jeremy is a Montreal-based musician, sound artist and improviser who loves giving advice to emerging artists on how to make their tours more effective. He writes, records and performs electroacoustic “concrète” music for tape, oscillators and amplified objects and surfaces, as well as solo guitar. He has performed and released material throughout Europe and the UK, Asia, the US and Canada, mostly with his trio Sontag Shogun.