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Start by using a compressor with a fast attack and fast release to quickly clamp down on transients that get too loud. One common trick is to use an 1176 to apply ~3-6 dB of gain reduction at a ratio of 4:1. This is a great way to tame a dynamic vocal performance.

These ideas all might ring true in other area of life, but they don’t have to apply to your singing voice. Singing does not necessarily have to render you “open” and vulnerable to the listener. Try to disconnect from these notions. The best way to do so is to see your voice is an instrument, and your singing is a product of your creativity and skill. Your singing is not a reflection of your “soul” (so to speak).

Scholarships for musicians not majoring in music

The building block of serialism is the 12-tone “row” in which all chromatic notes are articulated in an order chosen by the composer. The row can then be developed in several different ways. For example, inversion flips the vertical structure of the row (an inverted row will descend if it ascended before); retrograde motion plays the row in reverse.

I started to experiment with some of the horn samples in the pack and, though I didn’t end up using any, they gave me the idea to feature a trumpet player. I immediately thought of my friend and frequent collaborator, Jake Baldwin. I met Jake in Boston in 2010 while I was at Berklee and he was down the street studying at NEC. We started making music together right away in our New York-based hip-hop collective, Tiger Speak, but in recent years, we’ve both relocated to other cities.

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That said, Hein makes a great point that often the debate is not about current technology versus better technology. Rather, it’s a question of using technology either to achieve a result or to achieve nothing. He says, “If you’re some freshman in music school, usually the choice is not ‘shall I have a live string quartet play this or shall I have it be fake strings in Sibelius?’ No. It’s fake strings in Sibelius or nothing. And certainly when they get out of music school it’s fake strings or nothing.” So, having technology be there to help us along doesn’t take anything away, it enables us to do more. The role of education needs to be to empower students to make the most out of what’s available and not to mistake technology’s comforts for their own creative acumen.

If, like many of us, you’ve read Sound on Sound’s fantastic audio production articles on the web, you’ve probably already learned something from Mike Senior. His experience writing for a wide audience of relative newbies, as well as seasoned pros in the industry, translates well into this more comprehensive volume. The book specifically covers mixing, not recording, starting with the assumption that you have a tracked project in front of you ready to mix (or that you’ve just received from a client).

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Modes are a great resource for both improvising and composing. They give us a great variety of harmonic choices, but it’s often difficult to remember the difference between one and the other. In this article, we will look at a way to remember which notes make up a certain mode. In order to do so, we will have to build upon a previous knowledge of major and minor scales.

This international residency program is open to artists across many mediums for one- to three-month long residencies. Artists are given lodging and studio space on a remote island off the northeast coast of Newfoundland, as well as a weekly stipend for materials and day-to-day living. Be prepared to put on your public speaking hat though, as artists are required to give at least one presentation, performance, or workshop during their stay. Residencies open every two years.