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We’re all about these amazing beat makers who hail from Africa, Asia, and South America, and the rest of North America is captivated too. You need to listen to these seven electronic producers with a wholly unique sound and approach right now.
A mere mortal bass player might have connected the V chord to the VI- by playing the note in between the roots of each. But Paul McCartney starts the sequence two beats early, playing the root of the V and going down a half step before his three-note climb, resulting in a five-note run that fills out the entire gap in the vocals. Of course, little did I know at the time that this famous mop-top had gone on to be one of the most influential bass players ever.
And lastly, there’s more than probably a bit of synchronicity in the fact that as Brown’s album starts with “I’ll Go Crazy,” Prince’s live show inspired soundtrack album Purple Rain starts with a raucous, no holds barred version of his “Let’s Go Crazy.”
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Mix buss compression is a great way to add a little bit of excitement and glue to your mix. Some people like to slap it on the master buss after they have mixed it (Ryan West for example, whose credits include Jay-Z, Eminem, Kid Cudi, Maroon 5, T.I., Rihanna, and Kanye West). And some engineers like to slap a little bit of compression on in the beginning and mix through it. I don’t think there is a right or wrong way when it comes to when to put it on.
My production challenge this month was an exercise in adaptivity. Instead of going out and finding outdoor sounds to capture and sample, like we did for April’s monthly challenge, we were tasked with the wonderful opportunity to use sounds from a brand new hip-hop adjacent sample pack that launched recently on Splice. [*Skip ahead to hear my final track.]
For many, this is the dream. But not for me. My eyes become misty when I think of my teenage PC’s dial-up modem croaking into life, a low-quality MP3 of “Guerilla Radio” or “Ms. Jackson” seeping onto my hard drive through the unregulated glory of vintage peer-to-peer technology. Long Live Limewire!
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Jamie Ehrenfeld is the founder of CORE Music NYC, an artist services agency incubating upcoming musicians and teams committed to community engagement. She has worked as a music educator with the featured programs at Eagle Academy for Young Men and City as School.
Decades before he was laying down the bass track for Daft Punk’s “Get Lucky,” consummate studio session man Nathan East was playing on hit records left and right. A song that is a little bit hard rock, a little bit R&B, done by a band that until then was sort of new-wave-ish, “Would I Lie to You” seems like a fitting way to end this list.
This idea has been in the pipeline for a while, but the impetus to finally push it to completion was my Fundamentals of Western Music class at the New School. I have been drawing scales and chords on the chromatic circle by hand for a long time, and I wanted to be able to produce them automatically.
Restaurants, weddings, and self-organized events are how Lalita generates most of her income. With no electricity, none of that is possible. The release show for her new EP, El Grito, was postponed because of Irma, and the continued power outage has halted all promotion. The artist residency she was slated to begin in Miami this month is off, too; she needs the travel funds instead for a one-way ticket to New York. Lalita needs to earn money — for her own survival, of course, but also to care for those at home who need help now and will still be in need for months to come.
So if we play the C major scale, but begin on the note D, we alter the sequence of whole and half steps. The displacement of the intervals creates a different tonality. In the key of C major, this will give us the D Dorian mode, which, as you can see, is constructed on the 2nd scale degree of the standard major scale.