And professionals are also part of this vinyl lovers community. We offer a lot of services for artists and labels; we work with six different factories, 10 mastering studios, dozens of records shops around the world. And we’re here to find each artist the best partners they can work with without any obligation. When you create your account on Diggers Factory, you can either register as a Digger, an Artist, a Label, or a Distributor/Record Shop, and soon, it will be possible to register as a Mastering Studio and Pressing Plant.

Mix buss compression is a great way to add a little bit of excitement and glue to your mix. Some people like to slap it on the master buss after they have mixed it (Ryan West for example, whose credits include Jay-Z, Eminem, Kid Cudi, Maroon 5, T.I., Rihanna, and Kanye West). And some engineers like to slap a little bit of compression on in the beginning and mix through it. I don’t think there is a right or wrong way when it comes to when to put it on.

The sign of a thriving music city is one that the residents are excited to be a part of it. This is the case with Asheville — musicians and fans there not only feel excited and lucky to call Asheville their home, but they are genuinely thriving there

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We don’t see things like this anymore. Maybe MTV makes artists sign contracts to say they won’t misbehave as such now. Who knows. But Nirvana did misbehave and fought hard to make music dangerous again.

With all of Logic’s inredible instruments, producers often rely on the sound of the samples right out of the box, here’s how to make them more interesting.

Meredith Jane Monk is a world-renowned composer, singer, choreographer, filmmaker, artist, and writer. An absolute powerhouse of contemporary art and music alike, she’s been making waves as a composer and performer for over 50 years! Now 76 years old and showing no signs of slowing, Monk continues to be a leading force in extended vocal practices and techniques, and avant-garde performance practices. Her 21st century works have been published by ECM and Tzadik, and a few years back, she was a composer-in-residence at Carnegie Hall. Much is owed to her history of fearless experimentation and her forward-thinking eye toward the body and its sound-making capabilities.

A few basic strategic approaches and effects can color your drum parts in some fascinating ways, so let’s dig in to some of them right now. For more tips and strategies and a full course on how to get the most out of this high-powered DAW, preview our mentored online course for free here.

The building block of serialism is the 12-tone “row” in which all chromatic notes are articulated in an order chosen by the composer. The row can then be developed in several different ways. For example, inversion flips the vertical structure of the row (an inverted row will descend if it ascended before); retrograde motion plays the row in reverse.

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This test that you can perform at home is important for two reasons. Firstly, it demonstrates how, when we talk about phase, we’re describing the relative relationship between the peaks and troughs of different waveforms and how they affect the cumulative volume. Secondly, the phase flip demonstrated above is one of the most common ways an (aspiring) audio engineer will relate to phase. Because simply inverting the phase of a signal can make so much of a difference to how it interacts with other signals, this functionality is built into a lot of audio equipment and is a cornerstone of good recording and mixing practice.

Me too. Those “magical things” that come from our being open to and joyful about our mistakes — those are the moments that make music like Tredici Bacci’s feel like such a gift. Both intricate and broad, both ridiculous and honest, both precise and full of human breadth and skew, La Fine Del Futuro is a triumph of Hanes’ philosophy about taking the art of laughing (at himself, and with others) to be the very serious business that it is.

Following some standard doubling of the main guitar riff during the song’s introductory chorus, Jameson erupts with some root-octave slapping in the verse. He follows this with a couple high pops up on the neck and a slide down to the relative minor. The pulsation of F# with the fifth below it and alternating with the A just above it generates a funkier feel than you’d ever expect from a hard rock song with a simple three-note guitar hook. The sequence is repeated several times in the verse and, in spite of all the other cool riffs in this song, leaves you wanting to hear more.

And yes, it’s a masterwork. This isn’t just Japanese new-age hindsight fetishism at play here. Takada’s brilliant suite for marimbas and synthesizer brings Asian timbres and African polyrhythms in perfect contact with the minimalist language of composers like Steve Reich, Terry Riley, and Brian Eno. The fact that this record never made it out of Japan was a cultural crime that needed to be rectified.

Find out once and for all how streaming and sales royalties work — and how to get the money you deserve — in Soundfly’s free course with Ari Herstand, How to Get All the Royalties You Never Knew Existed.