Me: I’m a songwriter, and I also blog and teach private music lessons.
Whatever state the track is in, what will take it to the next level? If it’s a complete mess, what steps might begin to pull it together? If it’s a good idea that’s poorly executed, how could it be smoothed out? If it’s a promising fragment, how could it be developed into a full thought? If it’s a complete and polished track, could it have lyrics, or another section, or an alternative arrangement?
Go find that hard drive, finish up your beats, and put them out! Try using a service like LANDR to master tracks at scale, and check out FreshTunes for free music distribution.
These ideas all might ring true in other area of life, but they don’t have to apply to your singing voice. Singing does not necessarily have to render you “open” and vulnerable to the listener. Try to disconnect from these notions. The best way to do so is to see your voice is an instrument, and your singing is a product of your creativity and skill. Your singing is not a reflection of your “soul” (so to speak).
The two scales differ from each other by only one note: B natural in the Dorian mode (a major sixth) as opposed to a B♭ (a minor sixth) on the same degree of the D Aeolian (Natural minor). These two modes are minor modes, because they share the presence of an F as a third degree of the scale (which, in music theory books is called “Modal” degree because it sets the mode of the scale and its general mood).
I use a really small ratio of around 1.5 to 1. This means that once my audio passes the threshold I’ve set, there is very little compression happening to that audio. It’s just a little bit. I’m not trying to squash the life out of it. You can experiment with a little bit higher of a ratio, but know that the lower the ratio the less compression (more dynamics), and the higher the ratio the more compression (less dynamics).
New to Soundfly? All of our mentored online courses come with six weeks of one-on-one professional support and feedback on your work. It’s like having a personal trainer, but for music! Whether you’re interested to dive deep into a topic covered by one of our courses, like Unlocking the Emotional Power of Chords, Songwriting for Producers, or The Creative Power of Advanced Harmony, or just to work with a Mentor directly to achieve a specific goal, we can help you get there.
So, if you’re trying to stop noise from creeping into your home studio from the other rooms in your house, install MLV inside your wall and floors for best results. If you’re looking for a less invasive approach, hang it on all of your walls and lay it across your floor.
Whether used by accident or on purpose, it does tend to work. If you look closely at the melody of “Sugar, We’re Goin’ Down” by Fall Out Boy, you’ll notice it places the same amount of focus on those short scale intervals. The first vocal line even sounds like a nursery rhyme, with a see-saw-style melody: D-E-F#-E-D-E-F#-E-D.
Bands who play on proper venue stages are removed and distanced from their audience. The band-to-fan connections artists constantly seek to forge in live performance are made much easier and more frequently in the setting of a living room or back porch. You’ll also have a better chance at making friends with members of the audience and other performing musicians, because after your set, there will literally be nowhere to hide — unless you awkwardly pack up your things and leave the house without making eye contact or saying a word to anyone. I don’t recommend doing that.
Lastly, simple stage dressings can be very effective. I’ve seen an indie band bring an old TV on stage and play vintage VHS tapes in the background to crowd-pleasing effect. It was basic, but the extra effort and the miscolored TV playing My Cousin Vinny elevated the whole experience.
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.
A common distortion pedal for shoegaze is the fuzz, and there’s almost none more famous than the Big Muff Pi. It’s famous for a reason. It creates a high quality, juicy, fat sounding distortion for a comparatively low price and is sought after for its sustain as well. The Big Muff is really quite perfect for creating those colorful walls of noise, but there’s such a huge range of overdrive and distortion pedals out there, you really need to find what fits your personal taste.