Introducing Soundfly’s newly revamped Headliners Club program: a fully customized one-month learning and coaching experience built around your musical goals.
Your booking emails should be simple. I’ve found that a 1000-word email extolling the values of the bands, your booking skills, and how amazing and exciting the show will be often go unread. Talent buyers get hundreds of emails a day so something simple and concise is the way to go. Feel free to use these templates and change them accordingly:
Much like vinyl imparts a certain imperfect-but-adored sound through time, dust collected, faulty needles, and warped records, the same can be said of the MP3. Arguably, retro-MP3 production value is more in line with the tenor of our digital, postmodern age. We now have free apps on our phone to imitate crappy VHS camcorders. We share dank Instagram content that harnesses the style of visual degradation, mash-up and retro Windows ’98 artifacts — why not bring back the 128 kbps MP3 as well?
Music venue grants
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.
The key to editing is storytelling. Does this story make sense? Would it flow better to have certain parts shifted around? Does the tangent the guest went off on ever come back around to the theme? You would edit a written piece that gets published, just as I am doing as I write this. The same needs to be done for an audio piece.
Avoid this by following the 3:1 rule, which stipulates that the distance between multiple mics should be at least three times the distance between the close mic and the source. For example, if you have a close mic 8″ from the sound hole of your acoustic guitar, your ambient mic should be at least 24″ away from the other mic, or the same sound source. The big change in amplitude between the two signals will mitigate the comb filtering, and you can accentuate this by angling the mics in different directions (provided it sounds good).
Yes, Diggers Factory can also be seen as a kind of social network. That’s why we like to say that it is a community platform rather than a crowdfunding platform. We aim to create a digital community of “diggers,” where people come to discover new releases, get to know each other, and exchange conversation about music, share their tastes and their musical treasures.
This is a great reminder to all of us that sometimes closing the laptop and reaching for our microphone can help our electronic productions to no end. We shouldn’t be afraid to turn those familiar sounds we get from our instruments into something unfamiliar and other-worldly, to seek new ground.
Vh1 save the music 2018
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.
The short tape loop in the RE-100 still meant that you could only affect the delay so much. The RE-201 remedied this by using a longer tape loop that was spooled freely within a chamber with no reels. This loose spool approach resulted in less tape wear and fewer transient noises.
All this is corroborated by an intensification of dynamics, which grow gradually into fortissimo (1:05 onwards). A first climax is reached in the Prestissimo section: (d.) is now played by both hands and the staccato articulations are now accented, longer (and therefore heavier) notes (1:58).
All of our mentored online courses come with six weeks of 1-on-1 professional coaching and feedback on your work. It’s like having a personal trainer, but for music! Share your goals with us and we’ll find a course for you, or create a custom mentorship session with a pro musician, engineer, educator, or music industry veteran, to help you achieve them.
Berg’s wife, Helene, initially worked hard to achieve the completion and premiere of the unfinished opera in 1937. It was performed as an incomplete work by the Zürich Opera in 1937, and people craved more. She initially asked Schoenberg to definitively finalize the work, but he declined. However, she soon became resistant to any lasting completion of the unfinished orchestration, perhaps as a result of a unique harmonic mystery being solved.