Finally, don’t be afraid to offer free tickets and put media contacts on the guest list. Even if they don’t cover this specific show, they might write a review about the show and you could end up on their radar for future events. And speaking of ticket giveaways.
Most likely, you’ll do what everyone else does, which is live with everything being a little out of tune. And if you’re a guitarist, you know that no matter how you tune your guitar, it won’t stay in tune for long anyway, so how much does any of this even matter?
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Harmonically, the “majorness” of the V chord is pretty weak, as you can barely hear the major third. And yet the harshness of the iiº chord in the intro is masked by the sweet flute-like tone. Lots of anomalies. Another anomaly is just how fast this song rose in the charts, and how even faster it then dropped, going from #5 to #60 to #91, and then who knows where.
Now let’s look at some anomalies for roman numeral chord types used. For instance, the iii and♭VII chord types appeared well above and below their average rates, respectively, and both the major and minor tonalities managed to borrow their parallel tonic chords, so that’s a fun spice you don’t often get to taste.
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Here we have a powerful, straight-talking music video that perfectly matches the mood of the song. The use of a static camera and extras singing with fast-moving shots communicates a widespread aggression that people often feel inside, but reveals a more powerful message when presented en masse. Limp Bizkit’s video calls upon the song as a release of aggression in a way that is strangely uniting, yet also super fun to watch.
Angela Mastrogiacomo is the founder of Muddy Paw PR, where her artists have seen placement on Alternative Press, Spotify, Noisey, Substream, and more, as well as the Director of Community and Events for Music Launch Co. Her free training ‘Reaching a Wider Audience Without Spending A Dime’ helps emerging artists cut through the noise and get in front of fans and industry influencers in just a few steps. She loves baked goods, a good book, and hanging with her dog Sawyer.
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Tapes, like vinyl, are analog, which means while you might not get that crackling sound you love so much about old vintage vinyls, you will get a uniquely analog sound that strikes up the warm and fuzzies. Plus, it actually will sound better than what you get from the compressed quality of streaming, so if you or your fans are audio heads in any way (or if you just value sound quality) this makes it a really good option.
The first thing you’ll do is hop on the phone with your mentor so they can better understand what you’re hoping to accomplish and you can make sure you’re a good fit together. You can even do this right away, with no commitment to buy, by telling us about yourself so we can suggest a mentor. If you’re considering signing up but not sure if it’s right for you, give it a try!
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Another approach that works for some players is to use the C major scale on those two strings (6th and 5th) to map out the other notes as referential to them. If your aptitude for memorization is quite high, this would be quicker.
Let’s say that you’re mixing a project and it’s arrived to you with phase issues built-in. You have a natural snare recording, but when you turn up the accompanying trigger track, it sounds awful. Usually it’s the above comb-filtering and/or a disturbing lack of low end. You can start by flipping the phase button, and see if that gets you where you need to be. Alternatively, you can zoom in on the waveforms and see what’s up.
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Rob Lanterman is a writer, musician, and record label owner from Boise, ID. He enjoys writing about how aspects of punk rock and DIY have informed all areas of his life, as well as his own experience touring, writing, recording, and being a label owner.
Let’s kick things off with a banger! Bernard Herrmann is a film scoring legend. Psycho, Vertigo, Citizen Kane, you name it, he’s probably written it. One of his earliest films, The Day the Earth Stood Still, directed by Robert Wise, was also the first time Herrmann made use of the theremin. And, in fact, Herrmann used two theremin soloists in the score!
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