Top rap albums 2018

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To find out which note is in Fret 8 on the 3rd string, we need to route it back to the same note an octave below on the 5th string. In order to do so, we move two frets back and skip one string (follow the green arrow). The resulting note is in Fret 6 on the 5th string, so D#/E♭. 

So I wanted to pluck out a bunch of very famous songs from between the ’60s and ’80s where these stalwart rhythm-section warriors were able to eek out a few moments of their own in the limelight — those fleeting moments where any listener can catch the bass filling an iota of space very cleverly, or otherwise blending particularly well with the vocal, lead guitar, or other instrument. We’ll also examine the melodic techniques used in each case.

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Whether you’re looking to upgrade your podcasting setup or just getting started on your first transmission, here are 8 mics that’ll help you sound great!

As with many musicians, coffee is a necessity to do what we do, most often nocturnally. I’ve lost count of both the number of late-night performances and studio sessions I’ve done over the years and iced coffees (my saving grace) that have helped me make it through long nights.

With all of Logic’s inredible instruments, producers often rely on the sound of the samples right out of the box, here’s how to make them more interesting.

“Nonstop”: Talk about restraint, this one only has four notes: just F#, A, D, and then D♭ shows up at 1:26 sounding like a ghost. There might even be a hint of an F# major chord sometimes, but that’s probably just the harmonic overtones of the synth-patch poking through… or a ghost.

Soundfly welcomes new voices each month to offer unique perspectives, shine a light on unexpected musical worlds, and help our readers find their sound.

Best selling rappers of all time 2018

Everyone has their own tastes, so it’s difficult to pin down what makes some lyrics better than others — but still, there are many lyricists who are widely regarded as particularly masterful. A good starting place is to identify our personal favorites, study their work closely, and focus on developing our own skills.

“Look Alive”: Aaand we’ve got more Drake. Aaand we’ve also got another somewhat subjective tonality. What we’ve got is three intervals, A and E (an A5 chord), A and D (D5/A), and B♭ and D (B♭ no fifth), and a bass line that adds an F in there (for a♭VI chord, arguably). There’s also no singing to help us establish tonality, and so I first heard it in D minor, but after repeated listening, I realized it was just my brain filling in gaps to meet my tonal bias. It would actually be truer to classify this as A Phrygian because with the A  F  D  B♭ bass line, and without any concrete triads, it’s best to leave it up to the musical scale that matches the sound, and the Phrygian scale here clicks better than anything else.

All of our mentored online courses come with six weeks of 1-on-1 professional coaching and feedback on your work. It’s like having a personal trainer, but for music! Share your goals with us and we’ll find a course for you, or create a custom mentorship session with a pro musician, engineer, educator, or music industry veteran, to help you achieve them. 

With some EQ, dynamics, and imaging adjustments, mastering can fine-tune the blending of sounds within the entire song, but it won’t make any major volume level or sonic flavor adjustments to individual components. You don’t want to focus so much on trying to boost the overall song volume level when you are mixing as that is an aspect that would apply to the master output of the mix and, hence, should be left to the mastering engineer to handle for you. The only overall volume level issue you need to worry about during mixing is to make sure your levels are not clipping as it will cause digital distortion that cannot be repaired in mastering.

“I’ve come to love these awful quality files. In most cases, listening to their lossless versions just doesn’t sound right to me. My 128 kbps version of Mario’s ‘Let Me Love You’ still has the intro skit from the music video attached, hearing the song without it is jarring. With each layer of compression you can practically hear the thousands of others who shared and copied the same MP3, like a destructive digital fingerprint…. I’ve got dozens of tracks like these on my computer still. A 58 kbps copy of Kyuss’ ‘Supa Scoopa and Mighty Scoop’ that sounds like it’s being played through a payphone. A bootlegged CD of Hendrix demos transcoded up from somewhere to 128 kbps.”