Electronic music is arguably the most international genre, its basic forms and sounds able to be infinitely adapted to a variety of different influences and contexts. In this article we’re shining a light on five of the most exciting and experimental electronic artists in the Middle East right now. Engage with what’s here not as a novel “difference” from the mainstream, but rather as a sign of the future where music-making is interconnected and accessible to more people than ever before.
Since soundproofing is such a complicated aspect of home recording, many people simply give up on it. But it’s important to realize that you don’t need to do everything all at once. Part of setting up a high-functioning home studio is trial and error, building things to your own specifications, and creating a multi-use space for any type of recording you’d like to do there. So take your time.
As you may already know, the use of music and lyrics in karaoke is another mechanical use that can be another source of songwriter royalties. Aside from the kick you’ll get out of hearing your friends and total strangers belting out your songs at the local bar, you’ll also earn royalties every time someone sings your song. Licensing your music for use with karaoke could also potentially generate royalty income in a number of different ways including publishing, mechanical, and synchronization rights.
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Some guitarists like the level of control and consistency you get with amp simulators, but a little bit of wild energy in the room from a live amp can go a long way in terms of inspiring a great performance. For example, out of a real amp, when I palm mute power chords, I can hear (and feel) a lot more low-end rumble on the initial attack. The decision to use amp simulators instead of a real amp is up to you. Try both, and see which one gives you the tone you’re happy with.
I love both songs though. When I was growing up in the ’90s, there weren’t enough Lizzos in the world. The Spice Girls and Destiny’s Child had their own version of “girl power,” it came from a different place I think. But something about Lizzo’s execution is way more authentic, more believable, and more of what I want to rally behind right now.
I don’t know what it is about this West Virginia University hub, but I have found time and time again that even bands without a huge national following can attract a packed, excited crowd in Morgantown. People just can’t get enough music here, and they’re welcoming enough to give you a shot and come to your show even if they’ve never heard your music. Plus, with West Virginia’s proximity to Pittsburgh, Washington, DC, Baltimore, and Columbus (not to mention all the other secret hot spots in Ohio), it’s an easy detour that will surely be worth the trip.
Think of a narrative like a story you might read in a book. It should let people into your world and show your vulnerable and emotional side. People have been telling stories since the beginning of civilization. It’s how we learned to communicate and create culture, and being able to describe your story in a relatable way that fans can really latch onto is almost as important as being able to describe your music.
Many of the acts that you’ll reach out to will have a booking agent or manager responding on their behalf, and while this may seem daunting at first, it actually makes everything much easier. Booking agents are typically more responsive (and more professional!) than musicians so don’t be scared off by their very official websites and emails.
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“Better Now”: So, how the heck does Post Malone do his vibrato thing, anyway? Another thing he does that’s uniquely him is that he really likes to sing different melodies in all the verse areas. It’s just not standard practice how often he does it. You’re making my form labels fall apart, Post, knock it off! Wait, your name is a form label… ouch, my brain!
It starts in a Motown style with the chorus which uses a dotted and sustained two-note motif on the lyric — title and hapless subject “Jerome,” with variations — before the verses crank up the pace. Enjoy and take note of the contrast.
“Sicko Mode”: Wow! So this song is basically three songs in one. Part one is Drake singing in B♭ major pentatonic over a digi-cricket-wahwah-fog of harmonies that broke my brain so hard I had to use a lifeline. Thankfully, Martin Fowler on the Soundfly staff pegged it for me as Cm9 to B♭Maj7, which then switched the voicing just barely to E♭Maj7 and a D7♭13 without the C. What a thick mess!
Favorite lyric: “And I’d tell you I love you but I wouldn’t let you know it / cause that’s when it gets too hard not to blow it” —“Not That Kind of a Poet”
In 12-TET, you don’t define your intervals by tidy ratios of whole numbers. Instead, you divide up the octave into twelve equally-sized semitones (the interval between two adjacent piano keys or guitar frets). You then add semitones together to make all the other intervals. To go up a semitone from any note, you multiply its frequency by the 12th root of two. To go down a semitone from any note, you divide its frequency by the 12th root of two. If you go up by an octave (12 semitones), you’re multiplying your frequency by the 12th root of two 12 times, which works out to two.