There are a ton of pitch corrector plugins out there to make sure you’re fully in tune and sounding great — and no, you don’t need to go full Auto-Tune. If you’re a bit of a perfectionist though, you may want to hand tune them yourself. Head into the Audio Editor to find an option called Flex. From there, you’ll be able to tune any of your vocals by dragging them up or down to the correct note or fine pitch, or even flatten out the vibrato.
When we’re listening to a song, how much does the tune’s structure really matter? How much does it really matter which notes are in the verse versus the chorus? How much does it really matter when the chorus happens or when the verse happens?
Because there’s nothing else that I can do B
Join us as we recap a year of incredible online learning with our run-down of the best Soundfly student works of 2018! Want in? Mainstage starts next week.
I settled on two drum loops that had an identical tempo but were vastly different in terms of energy. Most of my track features this intense groove. But I’ve switched the drums out for this chilled out groove in the outro. The thing is though, since those two samples worked so well together, I actually snuck the latter groove into the busier drum sample on occasion — almost like a drum fill.
Christine Elise Occhino is a serial entrepreneur with a passion for the music business. In addition to being a vocalist herself, she is the CEO of Elise Music Group, Artistic Director of The Pop Music Academy, and owner of Stamford Recording Studio. She is also the proud Founder and Executive Director of Hope in Harmony, a 501(c)(3) nonprofit organization that uses music to help and heal those in need. Christine is a member of the Grammy Recording Academy, the American Society of Composers, Authors, & Publishers, and the Berklee College of Music Alumni Association. She has spoken on many music industry panels, contributed writing for music business publications for over a decade, and currently hosts the music-based web series and podcast, Soundbytez.
I love so many different kinds of music that this is such a difficult question, but I’d have to say my favorite music to play is groove-heavy R&B, as well as uptempo afrobeat/West African high life sort of music—basically, anything that really gets people up and moving.
Creating a string arrangement is the most powerful way to make a piece of music soar. Whether adding an epic string part to your latest pop song or composing for a classical quartet, there’s so much you can do with these dynamic instruments.
We all know that sound is a wave. The curves and spikes of our friend the “waveform” are a graphic representation of that wave’s action, traveling physically through air. If I clap my hands and record it into my DAW, the peaks and troughs on the screen represent the fluctuating changes in air pressure that cause the sensory phenomenon we call sound. These ripples of pressure in the air make our eardrums vibrate, so we can hear that sound.
I’m in the process of doing some large-scale writing about the way I teach music technology. To that end, I thought I would talk some about how I evaluate students’ creative work, both for grading purposes and during in-class critiques.
Once hip-hop artists started making money, they were met by an influx of copyright suits. Such harsh court decisions and the constant threat of legal suits inhibited the creativity of hip-hop artists. This case reflects the legal reaction to hip-hop: in the eyes of the court, hip-hop and sampling were not art, but pure theft. Courts labeled samplers criminals, and the art form itself was forced to change.
Like the tonality, the tempo here is also slippery. I’m calling it 119, and not 59 BPM. Usually the snare on the 2 and 4 is the king that decides meter in pop and rock, so it’d be 59 BPM. However, the lyrics are delivered so quick that I just gotta go with the more double-time feel. It’s right in the BPM sweet spot where either tempo label works. Last, we have some creative treatments of the choruses. The first chorus is really a half-chorus with an added measure (very cool!), and then it’s a regular chorus when it comes back around. And then when it finally comes back around at the end, you gotta call it “C2” (chorus variation) because of how it’s modified to act as the song’s outro.
Because of their long, curvy waveforms, low frequencies experience phase attenuation more profoundly than other areas of the spectrum. You may want to high-pass your square wave so that it gives the bass line that extra grit without stepping on the feet of your sine’s big clear lows. Additionally, many producers like to make low-end seem fatter by using stereo widening effects. Use these carefully as the phase interactions between the low end of each stereo side can cause destructive interference. Use the mono/stereo switch on your DAW’s master track to check whether your low end survives when everything’s running through the center channel.