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“We are dealing with music here, not 1s and 0s, so we made the early decision to not trust the data. We engineered the user experience and worked our way back to the data. When we were faced with a problem, we looked at music theory and Djing to solve the user experience rather than rely on what the data was telling us.”

I tend to use a medium-to-fast release setting. I’ve heard a lot of famous mixers say they set the release with the tempo of the song. So they would watch the gain reduction needle and have it release on beat with the song. I  try my best to use this method.

Frances Katz began her career writing about MTV and Napster. Now she writes about technology, music, business, and culture for a variety of publications including The Week, The Atlantic, Paste, The New York Times, Ploughshares, and others. She lives in Atlanta, but you can keep up with her on Twitter.

Chorus america

If you want to know why I didn’t lump the tag in with the bridge here for a tidy eight bars, I’ll tell you. Firstly, it just feels to me like 1+7. And secondly, the chord loop established at the start of the bridge (after the little rest) is repeated without its established fourth chord, making a kind of sneakily soon II-to-ii chord transition to the chorus. Neat. The outro is just a hold on the vi chord, proving once again that modern pop often refuses to end songs on the tonic like you’re supposed to.

The aim of this structure is to provide flexibility and depth to help you make big leaps forward in your music or career. Because there’s no pre-established content like there is in our courses, we’ve found this program works best for musicians who fall a bit outside the lines. If you’ve got a specific musical project or goal in mind, if you don’t really want a bunch of tutorials, and especially if you’re in need of a sounding board for professional feedback, this program is definitely for you. 

Filter sweeps are most commonly used in electronic music because it’s a popular effect that DJs rely on to impose a sense of ebb and flow on the crowd. It’s that underwater effect of gradually surfacing, or opening up, until the chorus finally hits. It can also be the exact opposite, where a producer will gradually close off a ton of the frequency content so it sounds like it’s getting smaller and smaller, before letting it all back in at the perfect moment to slam the chorus back in even harder. This is especially useful if you’re working on a beat-heavy dance remix and you want the bass to be intensely at front and center when it drops.

Our friends over at Bandzoogle had similar fears and a wholly constructive epiphany as to how they could use their platform to both fill the crowdfunding void that PledgeMusic left behind and learn from their tragic mistakes in the process. Bandzoogle has created a new preset page template that automatically populates websites with specific tools for musicians to run a crowdfunding campaign without taking any commissions on sales, or even inserting themselves into the payment transaction chain at all. 

At age 16, Nicc Johnson began his career as a DJ with the dream of eventually working in the international electronic music hub of Ibiza, Spain. With an unprecedented level of drive and determination, he would exceed that goal shortly to become the resident DJ at Ibiza’s most famous club, Pacha, for seven years, and move on to consult for restaurants, curating and creating music for playlists all around the world.

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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.

One of Martin’s most memorable musical moments happened while working on the score to the indie film Experimenter, composed by Bryan Senti. During the recording session, Marty was asked to re-voice and notate a section that involved a lot of string harmonics — one of the toughest things to notate, given all the math of matching which note works with which harmonic and which finger hovers where. Marty dove in head first and got it done, despite biting his nails the entire time — and in the process learned not to be afraid to put it all on the line for the music.

If you’ve spent a bit of time learning about rhythm patterns and how to compose or arrange in different time signatures, at some point you have probably come across the term hemiola. Hemiola is a unique-sounding technique than can give any rhythm a syncopated, off-the-beat feel.

Tim Maryon is an Soundfly Mentor, an award-winning composer, and film scorer. He has an MA in film scoring from the Royal College of Music, and has written music for documentaries for the BBC, scored animations for BFI, and worked with major brands. His original works have been performed all over Europe. You can read more about him and hear his music here. Want to work with Tim on your project? Fill out this form to tell us about your musical goals and be sure to mention his name in your response!

You may have noticed by now how these sorts of structures really can be plug-and-play to some extent. In our analysis of 2018’s top Billboard tracks, we saw how these different sections pop up again and again, some more than others, but with many different variations. Here’s a chart from that analysis that shows how often each section appeared throughout all the songs we looked at: