This record was a hair away from not being produced at all. Syd Nathan, the “king” of King Records at the time, saw James Brown as more of a single artist and refused to finance the making of a full album, nonetheless a live one. Nathan signed Brown and put out “Please, Please, Please,” which sold quite well. Unfortunately, Brown’s next nine singles were complete flops.
If you’re anything like me, your practice routine is something you do intuitively. It often involves sitting down with your instrument, playing a few scales, banging around for 20 minutes on a few songs or improvs, maybe working on something specific for 10 minutes in a repetitive manner, and then bowing out. Basically, it’s casual, repetitive, and thoughtless.
Whether you’re recording yourself or someone else, you’ll save time in the long run by getting lots and lots of takes. The most obvious reason for this is that musicians typically need a couple of run-throughs to start feeling comfortable and confident. But you also need to give yourself as many options as possible for splicing things together during the editing process, so you don’t have to go back in and record “punch-ins.” Re-recording is a time-waster; recording songs more than once the first time is a life-saver.
Chamber music ensembles
Saturation and distortion are usually used to add bite and roughness to instrumental tracks to help them stand out in a mix. Klanghelm’s IVGI can give you a full spectrum of colors, ranging from subtle saturation and warmth to dirty, grainy distortion. This is a very musical plugin that reacts dynamically to the instrument on which it’s placed, so it doesn’t create any tonal imbalance. You can also control the frequencies that are being saturated to get the detail necessary to make your instruments sound just the way you want.
Meredith Jane Monk is a world-renowned composer, singer, choreographer, filmmaker, artist, and writer. An absolute powerhouse of contemporary art and music alike, she’s been making waves as a composer and performer for over 50 years! Now 76 years old and showing no signs of slowing, Monk continues to be a leading force in extended vocal practices and techniques, and avant-garde performance practices. Her 21st century works have been published by ECM and Tzadik, and a few years back, she was a composer-in-residence at Carnegie Hall. Much is owed to her history of fearless experimentation and her forward-thinking eye toward the body and its sound-making capabilities.
The building block of serialism is the 12-tone “row” in which all chromatic notes are articulated in an order chosen by the composer. The row can then be developed in several different ways. For example, inversion flips the vertical structure of the row (an inverted row will descend if it ascended before); retrograde motion plays the row in reverse.
The lines to enter grocery stores are often hours long, and most are limiting purchases to ration supply. Queues for gas are absurd, and ATMs are frequently out of service. Water has been restored to Lalita’s area, but without electricity, it can’t reach apartments above the ground floor. Buying gallons for showering, toilet flushing, and drinking isn’t a reliable option — the island has mostly run out. Even individual bottles are extremely difficult to find.
Berg was obsessed with numerology and symbolism. Lulu is accordingly littered with geometric expressions of human themes as above. The most notorious example of this obsession comes into play during the piece’s famous musical palindrome, hinging at bar 687 of the score.
Grants for independent curators
And professionals are also part of this vinyl lovers community. We offer a lot of services for artists and labels; we work with six different factories, 10 mastering studios, dozens of records shops around the world. And we’re here to find each artist the best partners they can work with without any obligation. When you create your account on Diggers Factory, you can either register as a Digger, an Artist, a Label, or a Distributor/Record Shop, and soon, it will be possible to register as a Mastering Studio and Pressing Plant.
That was the beginning of my journey toward understanding the complexity of audio work and, more specifically, about the role of mastering in the recording process. Having performed music live for years and having dabbled in the studio, I understood that both used mixing; but I had never heard of mastering. How is it different than mixing? Why is it needed? Why didn’t my mixing engineer just do that work for us? I went looking for the answers.
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.
Let’s look at some examples and how to approach writing with both kinds of bass sounds. And if this article whets your appetite for hip-hop beat production tips, head over to our mentored online course The Art of Hip-Hop Production now and grab a free preview!
Inspiration may strike like lightning, but just about as frequently, so go out and find your own stories, ideas, characters, and narratives in these blogs!