For many artists, finding their ideal fan and learning to cultivate that relationship in a way that’s authentic can feel a little overwhelming. While there are many ways to do this, some of which we’ve outlined in past articles, today we wanted to explore a tool that has made fan growth a priority for the last decade or so via analytics and industry-wide insights — enter, Next Big Sound.
And while I’m on a food/beverage aside, La Cumbre Brewing Co. is a great local brewery that serves my favorite beer (Slice of Hefen; which actually is a slice of heaven) and just has a nice vibe about it. You’re guaranteed to make a friend here. It’s not too loud or stand-offish and they play excellent music.
Jazz amps need to produce an absolutely crystal clear sound. While of course many jazz guitar players use a lot of gain, the most important attribute is that clear tone. The clarity of a solid state or combo amp might give you an edge. That said, tube amps tend to produce more internal noise, so you might have a difficult time achieving the specific guitar tone you want. On the other hand, solid state amps are usually a bit more “transparent” when it comes to signal.
Rap group names generator
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Pretty much just a giant collection of songs and mixtapes to stream, based off a rating system similar to Rotten Tomatoes, Dat Piff is your go-to if you really don’t want all the fluff, and you just want to get to the part where you’re streaming thousands of new tracks.
According to the Ed Sullivan website, the popular host struck a handshake deal with Beatles manager Brian Epstein for, rather than a one-time appearance, a three-time opener/closer appearance. This offered exposure to over 23 million American homes on that very first performance, and thus, the ensuing Beatlemania took the United States by storm.
“Thank U, Next”: The sustain of that dreamy electric piano in this chord loop solidifies the G♭ chord as a G♭M13 and the F chord is an F7(#9) secondary dominant (V/vi )! Then we have a regular B♭m before returning to the tonic — but not so fast! We haven’t really returned home, since it’s a D♭7, another secondary dominant (V/IV) that sends us back to G♭M13. These secondary dominants act like coal nuggets to fuel a perpetual motion chord-loop machine. Form-wise, you could also call the chorus extensions “post-choruses,” but I already used up my “P” for the pre-chorus sections, so I’ll just call these extensions “variations” and be done with it.
A lot of the time, the student has no particular goal beyond “do this assignment.” So then the critique needs to get creative. I like to ask: If this track is a film or game score, what’s happening in the scene? Students have a lot of implicit knowledge in this area from their own media consumption, so I get wonderfully specific and unexpected answers to this, i.e., “It’s a bar fight in a domed underwater city.” Then we can figure out, how could the track more strongly convey the feeling of a bar fight in a domed underwater city?
Pabst blue ribbon
A great example of this is in Maurice Ravel’s String Quartet in F Major, right at the beginning of the second movement (which starts at 7:41 in the below video). In the second measure, the second violin and viola continue their eighth-note pattern grouped in threes, while the first violin plays descending quarter notes, essentially groups of two eighth notes.
All pickups have coils of wire wrapped around a magnet or magnets. Single-coil pickups have one set of these coils, while dual-coil pickups have two. Dual-coil pickups are typically known as humbuckers because they don’t pick up the hum noise that most single-coil pickups do, they “buck” it.
Ticket giveaways are a powerful way to get people out to your show. You can hand out physical tickets near the venue or contact local radio stations, podcasts, blogs, local stores, etc. to see if they’d be into giving away tickets to your event, for example, as part of a contest. If nothing else, you’ll create buzz around the event.
However, from an opposing perspective, we could also raise the following question: What’s the point of building technological tools that merely mimic what we’d otherwise be able to do manually, or at least through existing musical technology (i.e., instruments)? Instead we should be pushing the envelope and introducing tools into our learning practice that expand our potential for expression and leave preconceived boundaries behind. Or, we should be looking to change our educational curriculums to incorporate software that opens up new worlds for students to dive into.
As I touched on before, there’s something really comforting about the idea of a cassette tape. It brings to life visions of a simpler, or at least, less chaotic time, in which music consumed us in a completely different way.