Veteran sound engineer Vishal Nayak of Black Lodge Recording will take you through the process of recording a professional-grade demo in a day using only two microphones. The course covers the “basics” — how to record all of your instruments and sort out your arrangement so you have a track you can be proud of at home. Don’t think of it as recording a “demo” — you’ll be learning how to do a lot with very little. Throughout the course, you’ll follow along as singer-songwriter Arthur Lewis records his original track “We Ride.”

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.

The Scottish duo of Michael Sandison and Marcus Eoin known as Boards of Canada is one of the most influential production teams in electronic music history. The sounds they conjure from their synthesizers and samplers are nothing if not evocative: of half-remembered childhoods, warbly analog recording mediums, reality-bending psychedelic experiences, and so on.

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Let’s say that you’re mixing a project and it’s arrived to you with phase issues built-in. You have a natural snare recording, but when you turn up the accompanying trigger track, it sounds awful. Usually it’s the above comb-filtering and/or a disturbing lack of low end. You can start by flipping the phase button, and see if that gets you where you need to be. Alternatively, you can zoom in on the waveforms and see what’s up.

“…underneath the faded canopy of the bland mainstream lies a multiverse of challenging, engaging, explorative, enlivening work which I would say is the real ‘music of now,’ and which I love deeply.”

Soundfly partners with leading edge music education sites and services to bring you unique tips, tools, and stories to empower and inspire our community to find their sound.

If you’re an indie touring musician who’s used to a certain type of environment, and you still need some convincing, here are six great reasons why you should play more house shows.

We cover a lot of musical topics between the editorial content here on Flypaper, our newsletter Soundfly Weekly, our mentored online courses, and our customized project-oriented mentorship sessions on Soundfly. Yet no matter what area of composition, production, performance, or business we’re talking about from one day to the next, we find that what links most modern musicians in their drive to learn more and expand their skills and opportunities today is the need to develop a better grasp on home recording.

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As the Enlightenment gathered steam toward the end of Bach’s life, such views seemed to many of his colleagues to be outmoded or even a threat, as the product of the very same ancient, superstitious religion that the Enlightenment sought to escape. (There is an amazing book about Bach’s encounter with Enlightenment attitudes if you wish to learn more about this.)

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Give yourself a very clear sense of what you’re hoping to accomplish and discuss it with your engineer(s) ahead of time. For me, that looks like setting some clear “Must-Haves” (e.g. all the bass tracks for the entire album) and then a few “Nice-to-Haves” (e.g. a random track of all of us hollering like banshees). Accomplish the “Must-Haves” first and then allow yourself to go crazy on the “Nice-to-Haves” with whatever time you have left.

So, now that you’re equipped with some of the tools and knowledge of the most common forms of song structure, keep in mind yet again that there are no rules to songwriting! There are only basic ideas and pieces of advice that you can borrow from as you sit down and create something that’s meaningful to you! It’s helpful to have these weapons in your arsenal. When it comes down to it, the best thing you can do as a new songwriter experimenting with song structure is to try and write with all kinds of structures and figure out what works best for you.

No engineer’s library would be complete without some technical information, and Ballou’s Handbook, now in its fifth edition, is a serious contender for being your go-to in this field. A university-standard textbook, it’s not for the layperson.