Megastar Ed Sheeran is no stranger to music copyright infringement cases, and unfortunately, neither is his plaintiff. In the latest claim, “the battle of the Eds,” Sheeran is being accused of copying, yet again, Marvin Gaye’s “Let’s Get It On” in “Thinking Out Loud.” He is currently being sued by two different parties: Ed Townsend’s estate (co-writer of “Let’s Get It On”) and Structured Asset Sales, who claim to own a part of Gaye’s song.
There are many more harmonics (infinitely many more, in theory) but these first five are the most audible ones, and they’re the only ones you need in order to build yourself a versatile tuning system.
Faders Up II is designed for producers with some hands-on mixing experience who are looking to expand their arsenal of skills and approaches, especially when it comes to working with a larger variety of artists and clients. You should be ready and excited to get your feet wet working on a set of audio tracks provided by the course (and that you bring in yourself).
Arts grants international
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.
A bit of cleaning goes a long way. A tidy studio is honestly one of the most effective tools for working at optimum capacity. Imagine feeling super inspired and ready to start working, but then entering your studio space and finding that there’s a bunch of confusingly tangled wires at your feet and you can’t find the power cable to turn on your microKORG.
All of our mentored online courses come with six weeks of 1-on-1 professional mentorship, guidance, and feedback on your work. It’s like having a personal trainer, but for music! Whether you’re interested to dive deep into a production-related topic like Songwriting for Producers, The Art of Hip-Hop Production, Beat Making in Ableton Live, or Making Music in Logic Pro X, or just to work with a Soundfly Mentor directly to achieve a musical goal specific to you, we can help you get started!
Whether you’re a vocalist learning to sight sing from sheet music or an instrumentalist working on transcribing songs, arranging for an ensemble, or even composing new musical material, learning to identify intervals by ear can be useful across almost any situation. Plus, if you can identify intervals by ear, who needs perfect pitch?
By now, you’ve probably heard us shouting from the rooftops about our new and improved customized mentorship program, the Headliners Club — or as we like to call it, our “build-your-own-course course.”
90s hip.hop lyrics
I mostly approached this as “soloing” with the a cappella, using the instrumental as my “rhythm section.” But I did some improvising with the instrumental too, by looping, and by jumping around between cue points. I don’t consider this to be a polished work of art or anything, but I discovered some pretty cool sounds, even at my basic skill level. So I’m excited to see where this leads.
Making a hasty decision to open your wallet can leave you feeling like you have to stick with it. But you might have to swallow your pride if it’s just sitting on the shelf getting dusty. Even if it wasn’t the greatest financial decision you’ve ever made, you might still be able to get some money back for it on the used gear market.
Patrick McGuire is a writer, musician and human man. He lives nowhere in particular, creates music under the name Straight White Teeth, and has a great affinity for dogs and putting his hands in his pockets.
Daniel Martin is a songwriter, multi-instrumentalist, guitar instructor, and rock historian from Lancaster, PA. His music-related articles have been published on Counterpunch and Perfect Sound Forever. His band, Marty’s Invasion, has “invaded” multiple cities on the East Coast.
Will Kuhn suggests that the rhythms of “Clair de Lune” are so weird because Debussy was trying to notate rubato. That sounds plausible to me. It turns out that when you quantize the piece over beats, it sounds very syncopated and hip. Live and learn.