One of the coolest things that NBS offers is their Geo Reports, which create a nifty little heat map showing how an artist performs in various markets around the world. If you’re planning on touring soon or wondering where to focus your Facebook ads, this is a great place to start — to be sure you’re targeting areas with the most potential.
Touring is great. But it can very quickly turn into exhaustive, monotonous work. Here are 10 great tips to keep things interesting and fun on the road.
Sırma: This was my second Headliners Club session with Lisa and just like last time, it was a very productive and inspiring experience working with her. To me, Lisa is a very refreshing electronic composer, continuously flourishing…. She’s not afraid to try new techniques, she embraces technology, and she’s so open to taking direction while maintaining her musical identity at the same time. But she is new to composing with her voice, and it was really exciting to explore this new territory with her on this track. We kept her vocals in focus, from spoken-word sections to harmony and double layers and pad vocals. She went from “I don’t really sing” to making a track that revolves around her vocals. Isn’t that amazing?! She’s amazing.
American chamber music society
“Bad at Love”: Just like the song Halsey sang last year with the Chainsmokers, “Closer,” this song defies a concrete tonal center, camping on what I first heard as the IV and V chords, with just a flirtation to the I chord at the end of the loop. It’s subjective as to how anyone’s ear is going to hear this tonally, at least at first. It’s like that famous “Rabbit-Duck” illusion where some people see a rabbit and others see a duck.
I was thrilled to see he had signed up for The New Songwriter’s Workshop. Though he was fairly new to lyric writing, Jeff jumped in with both feet and did a great job from the get-go. Raven is a fantastic mentor, who went as far as to sing some of his writing so he could get a vocalist’s perspective.” — Mahea (Soundfly Mentor)
Everyone has their own tastes, so it’s difficult to pin down what makes some lyrics better than others — but still, there are many lyricists who are widely regarded as particularly masterful. A good starting place is to identify our personal favorites, study their work closely, and focus on developing our own skills.
As a performer, she was recently seen in Sondheim on Sondheim at the FreeFall Theatre in a cast that included Ann Morrison (the original Mary in “Merrily We Roll Along”), and Kissy Simmons (Nala, “The Lion King,” on Broadway). She also loves classical music by angsty Germans, moonlighting as the frontman for a yacht rock cover band, serving on the leadership council for March Chorus NYC, and more.
Ethan Hein is a Doctoral Fellow in Music Education at New York University. He teaches music technology, production and education at NYU and Montclair State University. With the NYU Music Experience Design Lab, Ethan has taken a leadership role in the creation of new technologies for learning and expression, most notably the Groove Pizza. He is the instructor of the free Soundfly course series called Theory for Producers. He maintains a widely-followed and influential blog, and has written for various publications, including Slate, Quartz, and NewMusicBox.
Grant for theatre production
Further, consider the saturated market of cheap digital music distribution companies and the recent news about Spotify accepting direct artist uploads. What does all of this mean for the music industry, and how will it determine your strategy as a creator? One paradigm shift is clear and necessary: Producers are also songwriters. Therefore, securing music publishing rights as a producer can drive your business.
The year’s half over but tons of great conferences are still ahead. Here are our favorite North American music gatherings that you need in your calendar.
Well, you can kiss that source of tour stress goodbye! House shows are more favorable to touring musicians because the hours end up being a lot more friendly and respectful. Since most concert venues and clubs make money serving alcohol, it’s in their best interest to keep the crowds inside their doors for as long as possible. But since most houses have people living in them, shows tend to start around sundown and wrap up just a couple hours later.
Tredici Bacci’s latest record, La Fine Del Futuro, released this spring, makes me feel like I’m playing a minor character in a movie about falling in love on mushrooms in a European technicolor nightmare circus. And oh yes, it’s definitely set in the 1970s. Simon Hanes is this 13-piece soundtrack-pop ensemble’s fearless leader, as well as its composer and arranger. Flypaper’s Dre DiMura asked the California-raised Brooklyn-based musical polymath to speak about his sense of humor, which is integral to the music, and Hanes said something which I think encompasses a huge part of the ethos of this interview series:
I tend to use a faster attack, but I’m not crushing those transients with a ton of compression, so I still keep the dynamics in my mix. If I found I was killing the transients too much and there was no excitement in my mix, I would probably make it a slower attack setting.