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Logic Pro offers some of the best-sounding and most customizable synths right out of the box, here’s how to adjust their default settings to your liking!
With overwhelmingly positive results, we’re happy to share a few select testimonials of Soundfly’s Modern Mix Techniques course directly from our students.
Real gangster rappers
We usually expect the energy to be at peak level in the chorus, but the matter of what “peak level” actually means is open for debate. In most cases, the chorus or drop sections will be the loudest parts of the song, but there are some producers out there who play with our emotions every now and then, and delay that ultimate satisfaction. You might want to go with the approach of creating a very busy pre-chorus that can potentially lead to an even busier chorus, but then leave listeners with a minimalist, stripped-down chorus which somehow counterintuitively hits really hard.
Some examples of past sessions include adding production magic to your tracks, arranging and finishing musical ideas, producing an EP, or getting help building an audience for your music. We’ll find you a Soundfly Mentor specifically suited to your project who will work with you to figure out what it takes to get it done. Just tell us a little bit about yourself to be matched with a mentor right away.
To learn a bit more about how to write bass grooves that lock together with the rest of the rhythm section, check out Soundfly’s free short course, Writing Funk Grooves for Drums and Bass. Enjoy!
First, we’ll look at what they actually do while recording and composing, which is interesting in its own right. Second, we’ll survey what kind of software is available to help you quickly approximate that sound. And finally, we’ll explore how to create some of their signature sounds from scratch using simple and inexpensive software. But first, if you’re looking to expand your knowledge of synthesis or even introduce yourself to synths for the first time, join Soundfly’s free online course Demystifying Synths today. It’s free!
All you have to do is click the box. Purple means the click will play; when it’s not purple, it won’t. I personally recommend that you record both your piano and vocals to a click track to make sure everything you might record later on is in time. It’ll also make mixing and processing that much easier.
Rappers from late 90s early 2000s
Before we move deeper into our analysis of this track, take another good look at the image above. Those are all the diatonic triads built on top of the scale tones of E♭ major. If this is new to you, I strongly suggest playing these chords on your chosen instrument. See if you can hear the relationship between each chord.
Raven: Alicia is just a special student. She comes to songwriting with a bright and unique voice, crafting lyrics that are conversational yet biting. As a student, she is diligent and hard-working. She receives feedback with grace and uses it as a means to enhancing her writing. I can’t say enough good things about her!
“Mona Lisa”: Um, this is 2018, guys, ain’t fooling me, there’s about to be some serious feelings going on. What is fooling me, though, is what to call the repeated lyrical hooks — there isn’t much here to grab onto: just a two-bar refrain or chorus, with an “I be with b*tches” motif that doesn’t fall in the same place relative to anything else in these epic story verses. So, yeah, I’m left with nothing solid to call them. Other than that, we’ve got an empty-bar tag before Kendrick’s verse to point out, which Lil Wayne soon takes back, gushing more feelings than any of all these 2018 “feelings” songs.
In a song known for its supremely catchy guitar riff (what else is new?), this is Hamilton’s moment of rising up to say, “Hey, don’t forget about the bass… it’s flashy, too!” The high run works particularly well juxtaposed against the lower notes he’s played up to that point in that section (which is basically the same riff as in the verses). Specifically, the vamping on C, then dropping down to the open E and walking up chromatically to the fifth below it (G), makes the shooting up to the next octave C and climbing up to the E above it sound really great together.
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.