The sound effects library will have presets to choose from such as “Dance Vocal,” “Natural Vocal,” etc., but feel free to pick and choose effects that sound good on your recording by trial and error. A little bit of reverb or delay can go a long way in making the vocals in your demo stand out and not sound jarringly raw.
His campaign seeks funds to create a Scratch Academy in Denver (not to be confused with the Scratch DJ Academy in New York with which Rob Swift is associated) as a result of local funding cuts for music and arts programs in schools recently. Not only is this a touching endeavor, but Jesu also uses his Kickstarter page as a place to post volunteer and freelance opportunities. He knows this campaign will attract attention from lots of people interested in the same things he is.
Not all of us have access to the kind of gear that the Boards are rocking. As usual though, we can find some good digital approximations on the internet. One of my absolute favourites is James Peck’s VHS Audio Degradation Suite. It provides emulations (with optional speaker simulation) of old video tape audio playback, based on machines in various states of disrepair. If anything digital is going to get you even close to Boards of Canada’s bevy of broken-down gear, this is it. While it’s free, it only works through Native Instruments’ paid Reaktor 6 soft synth platform. If you don’t already have that, you can try it out for 30 days.
Best 2000s rap songs
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.
This Beatles chiptune comp features some of the most imaginative and unexpectedly brilliant reinterpretations of everyone’s favorite songs from everyone’s favorite band.
As a new songwriter, the many varieties of songform might come naturally to you, or it might be a goal that you’re shooting to improve on. But luckily, while there are a ton of models out there for how songs are made to function, there are no hard and fast rules — which means you’re free to learn what tools you need, and then bend them to suit your songwriting practice.
With that said, here are seven of my best tips that will help set you up for success every time you sit down to create. And if you’d like additional personalized help, all of our Soundfly Mentors are equipped with time management and coaching training to help you take your project to the next level quicker and make it overall better sounding. Learn more about joining a four-week mentorship session here, and tell us about your personal musical goals here.
In 1972, John Fogerty left Creedence Clearwater Revival and their label, Fantasy Records. After he released his hit solo album Centerfield (1985), label head Saul Zaentz of Fantasy Records sued Fogerty for plagiarizing himself. Zaentz claimed that the single “The Old Man Down the Road” infringed upon “Run Through the Jungle,” a song that he had originally recorded with CCR under contract with Fantasy Records in 1970. Though he was not found guilty, it’s pretty novel that Fogerty was sued for sounding too much like himself!
Grants for music students
Few sources of songwriter income are as consistent and dependable as public performance royalties. These are royalties that songwriters earn any time their songs are played in public, such as performed live at a concert, aired on TV/radio, and even streamed on services like Spotify, Pandora, or Apple Music.
If you’re a songwriter interested in the legal grey areas of using other people’s music, check out our recent article on the basics of legally covering and sampling songs.
There are many contenders for the title of the 20th century’s “greatest opera,” and Alban Berg’s transgressive magnum opus Lulu is undoubtedly one of them. Love, eroticism, and death have always been stalwart themes of opera, yet Lulu still has the ability to surprise audiences through its unflinching examination of these themes — in part due to Berg’s incorporation of a complex, full-orchestral palindrome at the heart of the work.
It’s scary to be vulnerable, but I believe it’s necessary to get to the root of your artistry. Singing your own songs in front of people is one of the most vulnerable things you can do, and embodying what makes your songs and your stories unique will light up your art. Don’t be afraid to make others uncomfortable, because once you start creating art you don’t believe in, simply to please others and their needs, you will lose yourself.
What makes this campaign so powerful is the amount of care and work the agency put into its pitch video. Just look at the animated graphics, and the beautifully shot B-roll footage and interview segments. Listen to the crisp, well-EQed voiceover audio.