If you’re considering taking an online course to become a better composer, arranger, orchestrator, and all-around songwriter, head over to Orchestration for Strings to preview Soundfly’s mentored online course for free, and read on below to see what recent students have said about the experience!
With overwhelmingly positive results, we’re happy to share a few testimonials of Soundfly’s Orchestration For Strings course directly from our students.
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A short essay on why we should’ve never eaten the apple of industry-approved digital music streaming, and why the low-bitrate MP3 is all we really need.
Here at Soundfly we talk a lot about setting and achieving one’s goals. So it makes a lot of sense that this would be the first and probably most important tip for streamlining your workflow. When you have a clear goal in mind, every decision and every distraction should be questioned. Time simply can’t be managed professionally in recording spaces without a detailed list of goals and priorities.
Our in-house music business guru, Jay Coyle, has managed crowdfunding and direct-to-fan campaigns for bands like the Barenaked Ladies, Veruca Salt, and the Presidents of the United States of America (to name a mere handful). He always instructs his clients to be themselves and share their stories genuinely when communicating with their fanbases.
Evan Zwisler is a NYC-based musician who is most notably known for his work with The Values as a songwriter and guitarist. He is an active member of the Brooklyn music scene, throwing fundraisers and organizing compilations for Planned Parenthood and the Anti-Violence Project. He started playing music in the underground punk scene of Shanghai with various local bands when he was in high school before going to California for college and finally moving to New York in 2012.
As the story goes, in case you don’t know, Swift won “Best Female Video” with her song “You Belong to Me,” beating out Beyoncé’s “Single Ladies” video. Leave it only to West to interrupt her acceptance speech. “Yo, Taylor, I’m really happy for you, Imma let you finish, but Beyoncé has one of the best videos of all time. Of all time!” Leaving people like me to forever quote it out of context. Fast forward to 2017, and this incident has forever changed their relationship and careers. Check this out, courtesy of our friends at Genius:
Chamber music america new jazz works
“THERE IS A PHRASE about two minutes from the end of J. S. Bach’s famous Chaconne for solo violin that, if you are in the right mood or are hearing the right performer, can suddenly sound like a shriek or a growl or a moan…. What it really is, in official violinist’s terms, is bariolage: the rapid repetition of one note against which another line rises or falls. In this case the violinist obsessively saws on one pitch while the main melody strains to climb beyond it, bulging and sinking and then repeating the effort.”
We look at Ligeti’s famous composition in order to decide how much, or how little, the use of music’s foundational parameters really matter in composing.
I am fascinated by the creative potential of “musical theology,” a pre-Enlightenment relic from the tradition in which J.S. Bach thrived. For Bach and his cronies, music theory was a direct extension and reflection of metaphysical and religious truths. The major chord, three notes in one sound, was the trinity; equal temperament (a practical approximation that detunes each note slightly from the mathematical ratios of just intonation) represented the sinning imperfections of humankind, a musical Fall from God-made purity.
It is real easy to mess up an entire mix with too much processing — in particular, mix buss compression. Over the years of searching the internet creeping on my favorite mixers’ (Jacquire King, Dave Pensado, Chris Lord-Alge, and many more) mix buss compression settings, I’ve found that a little goes a long way.
One of the keys to obtaining this sound is fluctuation. Drive your synth sound through a piece of hardware or a plugin until you can hear the warmth and compression. Then place a regular old EQ on your chain, high-passing at 120Hz and low-passing around 6kHz. This will give you that blunted, warm sound. Then, in whatever soft synth you’re using, start firing up your LFOs (low frequency oscillators). Set them to a moderate speed and depth (nothing crazy, we’re going for chill vibes) and start routing them to various settings.