The first time you offer thousands of dollars to an act can feel incredibly stressful, but if you’re diligent about your research and transparent about your abilities and reach, you should be able to pay everyone — and make a little for yourself. At the very least, you’ll be showing your local music community that you care about equal pay and increasing opportunities.
It’s a great time to be a musician! With all the tools available these days, there’s a ton of ways to publicize and sell music online. Here’s just a few.
There’s something to be said for those memories and those feelings that we associate with cassettes. And for an emerging band looking to make their mark, release new music, and connect with their fans in a dynamic way (all while spending less than traditional CDs cost or merch would cost to manufacture), the cassette is the perfect option.
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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.
Music should be something you’re desperately passionate about if you want it to be your career, but if you don’t convert that passion into real work and goal-oriented planning, chances are nothing is going to happen for you. So set aside hours to get things done, make a list of goals, and start putting in the work whether it feels fun and rewarding or boring and forced.
When you pluck a guitar string, it vibrates to and fro. You can tell how fast the string is vibrating by listening to the pitch it produces. Shorter strings vibrate faster, and make higher pitches. Longer strings vibrate slower, and make lower pitches. The scientific term for the rate at which the string vibrates is its frequency. You measure frequency in hertz (Hz), otherwise known as vibrations per second. The standard tuning pitch, A440, is the pitch you get when your guitar string vibrates to and fro 440 times per second.
We usually expect the energy to be at peak level in the chorus, but the matter of what “peak level” actually means is open for debate. In most cases, the chorus or drop sections will be the loudest parts of the song, but there are some producers out there who play with our emotions every now and then, and delay that ultimate satisfaction. You might want to go with the approach of creating a very busy pre-chorus that can potentially lead to an even busier chorus, but then leave listeners with a minimalist, stripped-down chorus which somehow counterintuitively hits really hard.
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.
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This gripping narrative follows a suicidal lady who is saved by a stranger, but quickly becomes obsessive and forces the man to abandon her in her confused and unsafe mental state. Frustrated and full of anguish, the lady runs back to the very same building to fulfill her earlier wish, before we see her intentionally drop her shoe in front of another man, revealing to the viewer her malicious deception to find herself a partner.
And all of this happened before Brown’s future mega hits like “Sex Machine,” “Papa’s Got a Brand New Bag,” and “It’s a Man’s Man’s Man’s World” were even conceived. Live at the Apollo paved the way for Brown’s later successes, it was a jumping off point to reaching the black audiences and households to whom he really wanted to communicate. At this point, Brown was playing around 300 shows a year but was still mostly known by black audiences.
For metal music, I recommend getting a solid state amp because, while tubes can certainly achieve a heavy sound, at high levels of distortion for long periods of time, solid state amps are much more reliable. You don’t have to rely on the amp’s own effects so much, since in metal you’re likely to have more than a few pedals in your chain, but its electronics need to handle the load. Here are some of my favorite choices for playing metal music:
Ethan Hein is a Doctoral Fellow in Music Education at New York University. He teaches music technology, production and education at NYU and Montclair State University. With the NYU Music Experience Design Lab, Ethan has taken a leadership role in the creation of new technologies for learning and expression, most notably the Groove Pizza. He is the instructor of the free Soundfly course series called Theory for Producers. He maintains a widely-followed and influential blog, and has written for various publications, including Slate, Quartz, and NewMusicBox.
Magnéto is a Montréal-based radio production agency currently working alongside Radio Canada and independently to create a platform for Québécois podcasts.