A typical pedal point segment places a bass instrument repeating an ostinato or sustaining a single note against the lead instrument, moving in harmony or independent of it. In the outro of “The Chain,” this relationship is reversed, as Lindsey Buckingham’s guitar crescendos with what sounds like the open high-E string, and repeats while McVie’s bass line moves around akin to a lead guitar part.
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.
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If you learned how to tune your guitar to itself when you first started learning the guitar, you’ll remember that the note in Fret 5 corresponds to the note of the open string on the next string down. The only exception is the 3rd string, where in order to get the same note as the 2nd string open, we need to play Fret 4. This is due to how the guitar is mostly tuned in intervals of a perfect fourth, except for the 2nd string, which is tuned a major third above the 3rd string (G to B is a major third).
Soundfly course producer John Hull walks us through how he creates a Slice to MIDI preset in Ableton Live so you can build your own customized version.
When word eventually spread across Europe of how talented this young player was, he started receiving employment offers from as far away as the Tsar of Russia — whom he declined when he was offered a higher salary by the Chapel of San Marco. He was such a legendary double bass player in his time, that his instruments were custom-built for his height and bodily specifications. In 1799, he traveled to Vienna to meet Joseph Haydn and ended up performing with Beethoven, himself, who transcribed his own Cello Sonatas to double bass so that they could play the pieces together, with Beethoven on piano.
You’ve just bought a 180-gram audiophile pressing of your favorite album on vinyl. Getting home, you slide it lovingly from the sleeve. As your boutique turntable spins gently, you carefully place the stylus at the record’s edge, settle back on your beanbag with $400 headphones comforting your head, and savor the music just as the artist intended.
Taught by Alex Wilson of the Australian band Sleepmakeswaves, this course is less about recording at home and more about how to take in-the-box material and make it come to life while you’re performing onstage. We take you through the best gear to use, how to organize your tracks in Ableton Live, how to setup your laptop rig, and much more!
Academic library grants
ADHD’s Leveling Tool is a tube compression emulation in the style of the LA-2A compressor, an analog studio classic for compressing vocals due to its subtle, slow gain reduction and overall transparent sound. But I find that it also sounds great when used on mix elements such as bass and keyboards. The ADHD Leveling Tool tames instrument peaks and adds colorful character with its emulated tube drive. The release and attack time can be adjusted to suit your needs, which adds to this compressor’s versatility.
This isn’t to say that we only like songs because our brains are lazy. It has to do with how our brains process new information as it fits into a given context, in this case, how melodic notes fit into a key.
Originally recorded for a Live-Aid concert, the video was voted one of the worst of all time by an NME survey. I, however, find it hilarious and always get a kick out of it. I’d like to think, based off of how goofy Jagger and Bowie are acting in the video, they were thinking the same thing.
Looking to enhance your knowledge and skills, practice your chops, and build your portfolio of work? We definitely have an online course for you here on Soundfly.
New wave and post-punk era bassists did a lot of single-note chugging on root notes of chords. No offense to them; it’s what the music called for. As a consequence, bass players in those genres, like Peter Hook, Adam Clayton, and John Taylor, tend to be pretty underrated. But those minimalist bass parts actually did allow room for some subtle fill-ins to really stick out.