While effects can certainly be used in serial, you’ll have more control over the sound by creating aux channels for each individual effect. This way, you can slowly bring up the effects until they sit just behind the vocal. Just be careful — you don’t want the effect to overpower the vocal. Try turning the effects up so you can just barely hear them behind the original vocal — so that if you were to mute the effects, you would just barely notice something is missing.

Welcome back to our interview series, Incorrect Music, curated by guitarist, singer, and composer Lora-Faye Åshuvud (of the band Arthur Moon). In this series, we present intimate conversations with artists who are striving to push the boundaries of their process and craft. Join our weekly email newsletter to get more insights like this into how professional artists are making music and how you can apply those lessons to your own music.

If you can’t remember when you last turned it on, that’s a bad sign. If it’s more than a year since you last powered it up, even worse. If you’re not even occasionally using a piece of gear it can be hard to justify keeping it around. If you don’t know when you used it last, you probably won’t be using it again anytime soon. Let it go!

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I’m sorry to report that women artists didn’t gain much ground this year. And even though male-female duets saw a healthy bump, not even one strictly female duet showed up to the party, while a full third of our 2018 “Top 5-ers” had at least two dudes in the room! I don’t know, maybe blame it on the surplus of Drakes lying around?

Ischi’s website welcomes visitors with a video clip of him and the chickens as soon as you enter. He also has a new song out called “The Chicken and the Egg,” but it doesn’t seem to be streamable online — although you can hear a 30-second excerpt here.

“Mahea was exceptionally patient in helping me finish the course, given unexpected travel during the course time frame. The level of passion and professionalism is top notch, and Mahea was fun to work with.”

Drumming and loud sound are such large parts of Puerto Rican culture, it only makes sense they’d be the focal point of this week’s protests. Take a listen!

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.

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New Artist Model member Saskia Griffiths-Moore used a music video to share a bit of her narrative. She started with nothing but a dream — a desire to sing and create music — and was busking on the streets to make money after quitting her job cold turkey. Now that she’s realized her dream and is supporting herself fully with music, she revisited her old busking spots in London in her music video “Joy of Defeat.”

I think “Musica Ricercata” represents a little compendium in advanced composition. The absence, or the reduction to a minimum, of three of the main and most recognizable parameters in music (harmony, melody, timbre) clearly shows how it is possible to use the other parameters (dynamics, tempo, register, articulation, and rhythm) to create a sense of directionality, growth, and change to the music.

Jeremy is a Montreal-based musician, sound artist and improviser who loves giving advice to emerging artists on how to make their tours more effective. He writes, records and performs electroacoustic “concrète” music for tape, oscillators and amplified objects and surfaces, as well as solo guitar. He has performed and released material throughout Europe and the UK, Asia, the US and Canada, mostly with his trio Sontag Shogun.

Ian is a pianist, entrepreneur and professional musician. He started Soundfly to help people really find what gets them most excited musically and pursue it. He’s toured all over the world with his experimental trio Sontag Shogun. Check out his most recent course Building Blocks of Piano or follow him on Twitter at @ianrtemple.

The bariolage part isn’t only exciting because of the chromaticism — all those repeated A’s are intense too, in a way that doesn’t come across fully in MIDI form or played on a piano. On violin, you’re not just hammering the same note over and over. You’re really playing two different notes that are both very close to being A — you alternate between the open A string and the D fingered at the equivalent of the seventh fret in the guitar. These two A’s are a little out of alignment with each other.