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Alex is a multi-instrumentalist, composer and producer from Sydney, Australia. He founded the post-rock band sleepmakeswaves, with which he has toured Asia, America, Europe and Australia. In his spare time he writes music for short films, produces bands and subsists on altogether too much coffee. Alex is the instructor of the free Soundfly course, Live Clicks and Backing Tracks.
Her project is cleverly structured using Indiegogo’s flexible funding feature. As long as she reaches any of four monetary milestones, she’ll be able to complete her project. Well done!
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!
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Erik Veach is the owner and lead audio engineer at Crazy Daisy Productions, providing mixing, mastering, and sound editing services since 2001. He is the original pioneer of automated intelligent mastering systems, introducing them for use in professional music production in 2003.
In this edition of “Talking Points,” influencial composer Igor Stravinsky shares his thoughts on composition, creativity, craftsmanship, and other topics.
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.
+ Learn more on Soundfly: Preview our popular mentored online course, Unlocking the Emotional Power of Chords, for free to learn how to create more vibrant, compelling harmonic progressions in your music today!
It wasn’t long before I realized that, if I’m being very honest, all of these playlists are more or less the same. They’re all full of instrumental music (probably because they’re trying to be “calming”) and while the songs aren’t necessarily the same, to the untrained pup ear, they might as well be. There’s not a lot of variation, and if I were a dog, I’d get pretty bored with this mix too. Which might be the point — to just put your pup in a state of relaxation so they can drift off to dreamland.
Now, you’ll also need to work out a door split with the venue. I always ask for the door split to be increased as we well more tickets. If I do a great job planning a show that brings in a ton of people, I think it’s fair to say that I should be rewarded by getting a better door split. The more people I bring in, the more money the venue makes on alcohol sales.
To some local folks, Low Spirits is too “out-of-the-way,” which means it’s not really located near other bars. So once you’re there, you are probably there for the rest of the night — which, really, is a pretty damn good decision. This is the place to get stranded. It’s one of our favorite places to hear live music and grab a cocktail. You’ll be in great company with the bands that have jammed on the intimate stage at this venue. And when I say intimate, I mean being in the audience literally feels like being on the stage. The margaritas deserve an honorable mention, too.
This idea has been in the pipeline for a while, but the impetus to finally push it to completion was my Fundamentals of Western Music class at the New School. I have been drawing scales and chords on the chromatic circle by hand for a long time, and I wanted to be able to produce them automatically.
“Nice For What”: Okay, what the heck kind of tonal Rubik’s Cube is this? So after a noncommittal B♭m and Cm chord in the intro, we get a main loop with three chords in dizzy order: D♭ E♭ Fm, with the singers using the traditional do-re-mi notes of an A♭ major scale. And at first I heard it in a Lydian tonality because whenever it got to the D♭ chord, it just felt like the home chord to my ear. But when I started to break it down on paper, I realized that the basic loop was: E♭ D♭M7 D♭ Fm E♭ Fm D♭ Fm, and wait: don’t tonic chords usually begin or end loops most of the time? I mean, am I right?
His first tip is to move away from vague goals of “getting better” to really specific, deliberate goals, such as playing the first page of Mozart’s Sonata three times in a row without a mistake. The key is, as Dr. Ericsson writes, to “take that general goal — get better — and turn it into something specific that you can work on with a realistic expectation of improvement.”